prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: The song that came out ahead of The Wanted's "Lightning" on the UK Singles Chart was featured on which album?

The following are given passages.
Context 1: Passage 1:
Honey to the Bee
"Honey to the Bee" is a song by English singer turned actress Billie from her debut studio album, Honey to the B (1998)  It was released on 22 March 1999 and debuted at number three on the UK Singles Chart, which became its peak position  It was not a hit in mainland Europe, but it became one of Billie's highest-charting songs in Australia and New Zealand, reaching number six in the former country and number five in the latter  In Australia, it was the 48th-best-selling song of 1999 
In January 2007, the song was championed by Radio 1 DJ Chris Moyles as part of an experiment to test out the new UK Singles Chart rules that came into effect that month, which prompted the song to reach number 17 on the UK Singles Chart on 21 January 2007 

Music video
The video, which uses the shorter radio edit version in lieu of the full album version, was directed by Katie Bell and features Billie in a computer-animated background 

Track listings
Credits and personnel
Credits are lifted from the Honey to the B album booklet Studios

Recorded at Ridge Farm (Surrey, England) and Marcus Studios (London, England)
Mixed at Metropolis Studios (London, England)Personnel

Charts
Certifications
Release history
Play version
In June 2003, Swedish girl group Play covered the song on their third album Replay  Play's version featured a trip hop beat and soprano vocals 
Passage 2:
Clean Bandit discography
English electronic music group Clean Bandit have released two studio albums, two extended plays, 22 singles (including four as a featured artist), 22 music videos and 13 remixes  In December 2012, the group released their debut single "A+E", which peaked at number 100 on the UK Singles Chart  The song is the lead single from their debut album, New Eyes, which was released in May 2014  The album's second single, "Mozart's House", charted at number seventeen on the UK Singles Chart, becoming Clean Bandit's first top twenty single on the chart  "Dust Clears" was released as the third single from the album, reaching number forty-three on the UK chart  The album's fourth single, "Rather Be", features Jess Glynne and topped the UK Singles Chart, the group's first number one on the chart 
Clean Bandit's 2016 single "Rockabye", which features rapper Sean Paul and singer Anne-Marie, became their second number-one hit in the UK, becoming the Christmas number one single for 2016 in its seventh consecutive week at number one  The follow-up to "Rockabye", "Symphony", featured Zara Larsson and became their third UK number-one single  Their second album, What Is Love?, followed on 30 November 2018 

Studio albums
Extended plays
Singles
As lead artist
As featured artist
Music videos
Remixes
Songwriting and production credits
Notes
Passage 3:
We Found Love
"We Found Love" is a song by Barbadian singer Rihanna from her sixth studio album, Talk That Talk (2011)  The song features (and was written and produced by) Scottish DJ Calvin Harris, whose 2012 album 18 Months also includes the track  "We Found Love" premiered on September 22, 2011, on the Capital FM radio station in the United Kingdom, and was made available to download on the same day as the lead single from Talk That Talk  "We Found Love" is an uptempo electro house song, with elements of dance-pop, techno and Europop  The song's lyrics speak of a couple who "found love in a hopeless place" The song was a major worldwide success  It topped the US Billboard Hot 100 for ten non-consecutive weeks, becoming the longest running number-one single of 2011  The single also surpassed "Umbrella" and became Rihanna's longest running number one single  It was the singer's eleventh song to top the Hot 100, placing her in third place among female recording artists amassing the most number one singles  Outside of the United States, "We Found Love" topped the charts in 25 other countries, including Canada, Australia, New Zealand, France, Germany, the Republic of Ireland, Russia, Scotland, Switzerland, and the United Kingdom  According to Billboard it is the 29th most successful single of all time in the US  As of 2015, the single has sold 10 5 million copies worldwide, thus being one of the best selling singles of all time 
The song's accompanying music video, directed by Melina Matsoukas, depicts the singer as a drug-abusing thrill-seeker in a relationship that quickly spirals downward into addiction and domestic violence  The video won a Grammy Award for Best Music Video at the 55th Annual Grammy Awards and MTV Video Music Award for Video of the Year at the 2012 MTV Video Music Awards  The song has been performed on both the UK and US versions of The X Factor, as well as at the 54th Annual Grammy Awards and the 2012 Brit Awards  Multiple recording artists have covered "We Found Love" including British artists Coldplay and Jessie J 

Background
Following the release and success of her album Loud (2010), Rihanna originally revealed via Twitter that the album would be re-issued with new songs and released in Fall 2011, writing that "[t]he [Loud era] continues with more new music to add to [your] collection"  In September 2011, Rihanna again took to the social networking site to confirm that the plans had been scrapped, with the singer tweeting "I [thought about] a [re-release], but LOUD is its own body of work! Plus [you] guys work so hard that [you] deserve to act brand new"  On September 19, 2011, Rihanna further provoked excitement amongst her followers when she posted that she was listening to the song, only to be re-tweeted by Calvin Harris, who replied "Sometimes it feels like we find love in the most hopeless place", suggesting that his response contained possible lyrics from the song  In an interview with Capital FM, Harris – who produced the track – explained that followers of Rihanna had sent messages to him regarding their expectations of the song, saying "The song better not be rubbish", which he interpreted as slightly threatening, but went on to say that "it's all part of the fun"  In an interview for Q magazine, Harris said of the lyric, "we found love in a hopeless place," "It could have been Jumpin Jaks in Dumfries (Harris' home town), I don't know exactly what I was thinking about ""We Found Love" premiered in the United Kingdom on September 22, 2011, on Capital FM, and was sent for mainstream adds in the United States on October 11, 2011  The song was released via iTunes on September 22, 2011  During an interview with MTV News, Calvin Harris revealed, "'We Found Love,' is the most successful thing I've done ever    It's not strictly a song by me, obviously, it's by Rihanna  She sings it   It was great to work with her    No one could have taken it as far as she did  You can't escape it here [in America]  I've heard it a lot  I've heard it probably more times today than I did when I was mixing it  Which is a good thing    Ever since the Rihanna song did well, a lot of people want to do some stuff, which is great    That's what I enjoy doing  In terms of actual names, I've not done anything yet " In October 2012, British singer Leona Lewis claimed that she was originally chosen to sing the song but ended up losing it to Rihanna when Harris went touring with the latter, commenting  "I didn’t commit to it because I wanted "Trouble" to be my first single so I think that was another reason they went with Rihanna  It was the same version and production but mine’s better " In 2013, Nicole Scherzinger claimed that she was the first artist given the song but ended up rejecting it, commenting  "I've got the demo of that song and I was busy at the time  They'd sent me a few dance tracks and I wasn't able to get to them and I was like, 'Oh there's so much dance and I want to take a break from it "

Artwork
The artwork for "We Found Love" was released by Rihanna's official Facebook page on September 22, 2011  Grady Smith of Entertainment Weekly's The Music Mix criticized the song's artwork, writing "'We found love in a hopeless place,' Rihanna repeats over a David Guetta-ish synth beat  But judging by the single cover, her place doesn't look too hopeless, does it? Maybe there's a building on fire outside the frame, and that fire hydrant doesn't work  I guess that would be hopeless " A reviewer for Sugar Magazine wrote that "On anyone else this would be a pretty odd look but Rihanna somehow makes a denim overload look good " A reviewer for Neon Limelight commented that Rihanna appeared to be adopting a tomboy image for the new project, writing, "She really is going for that sexy tomboy look this album era it seems; remember the laid back look she rocked on the single's cover art?" 

Composition
"We Found Love" is an electro house song with elements of Europop, pop, techno, dance-pop, trance, and Euro disco  According to the digital music sheet published at musicnotes com, the song is written in the key of F ♯ major and it is set at a tempo of 128 beats per minute  The instrumentation of "We Found Love" consists of alarm bells, a keyboard, repetitive pumped-up synthesizers and 4/4 beats Rihanna's vocal range in the song spans one octave, from the lower note of C♯4 to the higher note of C♯5  Priya Elan of NME commented that Rihanna sounds "extremely relaxed" and Bill Lamb of About com wrote that her vocals are simple and unaffected  Leah Collins of The Vancouver Sun wrote that Rihanna's vocals on "We Found Love" were similar to her vocals on "Fly"  According to Elan, the keyboard work in the song bears resemblance to that in from "Only Girl (In the World)" and the melody is similar to that of "Complicated", a track included in Rihanna's 2010 studio album Loud  Similarly, Michael Cragg of The Guardian noted that "We Found Love" is in the same vein as "Only Girl (In the World)", with regard to its dance beat The lyrical content of the song is sparse and largely revolves around Rihanna chanting the song's hook line, "We found love in a hopeless place"  Jody Rosen of Rolling Stone described it as "half-baked romantic"   Rihanna starts the song in a falsetto airy voice as she sings, "Yellow diamonds in the light / And we’re standing side by side / As your shadow crosses mine / What it takes to come alive " Michael Cragg commented that the first chorus is almost being sidelined in favor of a large chunk of Harris's riff, before they join on the second chorus  The hook repeatedly rings throughout the song 

Critical reception
The song received polarized reviews from music critics  Amanda Dobbins of New York magazine praised the composition of the song, writing "Harris's electro fingerprints are all over this one — it plays like a straight house track, with some dreamy Rihanna vocals added in over the beat " Robbie Daw of Idolator commented on the song's lyrics, with particular emphasis on the line "We found love in a hopeless place", writing that it is possibly the best lyric in pop music so far in 2011  A reviewer for Instinct magazine praised the song, writing that "We Found Love" does not mark a departure from the dance-floor oriented material Rihanna debuted on Loud, but it certainly boasts "a higher-energy, peak-hour vibe"  Similarly, Michael Cragg of The Guardian commented that the song takes the dance direction Rihanna hinted at on "Only Girl (In the World)" and continues releasing similar songs, making reference to "We Found Love"  Cragg also likened the song to Leona Lewis's recent single, "Collide", but criticized the song's structure, writing "[it] is slightly odd"  He ended his review writing, "Either way, she could have recited Nick Clegg's conference speech from Wednesday over the sound of Harris cracking his knuckles and it would be a hit "Priya Elan of NME commented, "By now it's pretty customary to have a jaw-on-the-floor reaction to the first single from a Rihanna album  'Pon De Replay', 'SOS', 'Umbrella', 'Russian Roulette', 'Only Girl In The World' " Despite complimenting Rihanna for sounding extremely relaxed and calling her vocal as "luxurious calling to mind the atmosphere", Elan concluded that the over-all effect is underwhelming  She continued by writing that instead of re-inventing the pop wheel, "We Found Love" has "a whiff of treading-water about it" and that "if there is a 'goosebump' moment to be had it comes after many multiple plays and, dare we say it, a glass of something strong " Awarding "We Found Love" two stars out of five, Jody Rosen of Rolling Stone was critical, writing that it "is much ado about very little indeed" and that is "an insipid tune"  He concluded that Rihanna repeats 'We found love in a hopeless place' "approximately 350 times, hoping it will start to mean something  It's the worst single of Rihanna’s career  It will probably top the Hot 100 anyway " Leah Collins of The Vancouver Sun initially praised Rihanna's vocal performance in the song, writing that she "smoothes out her vocals", before adding, "Angelic as she sounds, though, [her] performance – which is mostly just her repeating the line 'We found love in a hopeless place' – seems to take second place to Harris' repetitive synth-based blare " Similarly, Amos Barshad of Grantland criticized the singer's vocal performance, calling it "a complete afterthought" before concluding, "People who regularly attend the Electric Zoo festival: Rihanna wants your money!"A reviewer for GlobalGrind commented on the song's lyrics, suggesting that there is perhaps an underlying message in the song for ex-boyfriend Chris Brown, in the line "We found love in a hopeless place"  This further raised suspicion when Brown re-tweeted one of Rihanna's posts on Twitter, which read "Sometimes it feels like we find love in the most hopeless place"  Jessica Herndon of People magazine praised the song, saying that "'We Found Love' had an amazing influence on people all across the world in 2012, becoming one of the most popular and most successful songs" Pitchfork Media commented, "Over a frantic, Calvin Harris-produced, Guetta-meets-'Sandstorm' beat on her sixth record's lead-off single, Rihanna repeats these words almost 20 times  'We Found Love' ranks among Ri's best singles because it recognizes that there's not much more that needs to be said: in three and a half minutes, the line moves from being a great pop lyric to a triumphant mantra to something suggestive of a whole spectrum of unspoken emotion  The best pop music transports you to somewhere beyond words, and Rihanna's strongest singles all seem to be in on this secret " Allmusic chose the song as a highlight on Talk That Talk, and wrote about the "singer's ecstatic vocal than Calvin Harris' shrill, plinky production"  Los Angeles Times commented that the song was an "ode for bad love" and added it "wouldn't be out of place at Electric Daisy Carnival"  The New York Times' writer commented "'We Found Love' almost criminally recalls the swinging Crystal Waters singles, with triumphant percussion somewhere between church and seventh-inning stretch " Billboard magazine also praised the song, saying that: "Through a haze of glitter and bliss, Rihanna emerges to let us find a gorgeous hook in a hopeless place, and Calvin Harris becomes a household name " As of January 2015, Billboard named "We Found Love" as the best song of the 2010s (so far)  USA Today considered the song to be a highlight on the set, commenting that Rihanna sings "bistfully"   Entertainment Weekly noted, "U K  club king Calvin Harris trades Rihanna's usual somber synths for disco ecstasy on 'We Found Love,' a song that builds and builds to a climax that's so arena-ready it practically begs for someone to blow a vuvuzela" 

Recognition and awards
MTV chose "We Found Love" as the third best song of 2011, and "Video of the Year" at the MTV Video Music Awards 2012  The writers of the website further commented, "The leadoff single from Talk That Talk is where Rihanna fully embraced EDM  Produced by Calvin Harris, 'We Found Love' is a swirling party track about love and loss, the rare song that manages to be sad and joyous all at once  And it is a pinnacle of the pop/dance crossover, a throwback to '90s raves that could make even the most stoic lover of pop want to break out a glow stick and just dance  Rob Sheffield of Rolling Stone put "We Found Love" at number eleven on his list of Top 25 Songs of 2011 commenting, "While her other hits tried to camouflage her spindly voice, here it just strains for that spindly melody " It was named the third biggest love song of all time by Billboard 

Critic lists
According to Acclaimed Music, "We Found Love" is statistically the 5th most acclaimed song from 2011 and the 45th most acclaimed in the 2010s 

Chart performance
Oceania
"We Found Love" made its chart debut on the New Zealand Singles Chart on September 26, 2011, at number 14, and in its fifth week, rose to number one  It remained at the top for nine straight weeks, becoming Rihanna's longest-running single in the country, overtaking 'Umbrella' which reigned for six weeks in 2007  The song has since been certified three-times platinum by the RIANZ, denoting shipments of 45,000 copies  In Australia, "We Found Love" debuted on the Australian Singles Chart on October 9, 2011, at number three, before rising to number two for multiple weeks  As of February 2013, the song has been certified six-times platinum by the Australian Recording Industry Association, denoting shipments of 420,000 copies, marking Rihanna's best-selling single in the country as a lead artist 

North America
In the United States, the song debuted on the Billboard Hot 100 chart on September 28, 2011, at number 16  "We Found Love" became the singer's fourth highest debut on the chart out of her 31 Hot 100 chart entries, with the highest being her collaboration with Eminem, "Love the Way You Lie", which debuted at number two in July 2010  The following week, "We Found Love" rose to number nine, giving Rihanna the record for a solo artist to have amassed twenty top-ten singles in the history of the Billboard Hot 100 chart in the shortest amount of time  Rihanna achieved the feat in a time span of six years and four months, surpassing the record previously held by Madonna who managed the achievement in a time span of six years and nine months  In its sixth week on the chart, the song reached number one, giving Rihanna her eleventh number-one single and Calvin Harris his first number-one single in the United States and making him the first British dance DJ to top the Billboard Hot 100 and the first Scottish solo act to top the chart since Lulu's "To Sir with Love" in 1967  thus tying her with Whitney Houston in fifth place for the highest number of number-one singles in the 53-year history of the chart, behind The Beatles (20), Mariah Carey (19), Michael Jackson (13), and a fourth place tie between Madonna and The Supremes (both with 12)  Rihanna also tied with Houston as the female artists with the third most number-one singles on the chart, behind Carey and Madonna  "We Found Love" spent 10 non-consecutive weeks at the top of the Billboard Hot 100, surpassing "Umbrella" as Rihanna's longest number-one single in the country, and was the longest-running number one of 2011  It was certified nine times platinum by the Recording Industry Association of America (RIAA) for shipping more than 9 million copies  As of June 2015, the song has sold 5 4 million digital copies in the US  On August 1, 2013, Billboard announced that "We Found Love" is the 24th biggest Hot 100 hit of all time in the chart's 55-year history "We Found Love" debuted at number seven on the US Hot Digital Songs chart, with digital download sales of 117,000 after only four days according to Nielsen SoundScan  In its fifth week, the song rose to number one, with sales of 231,000 copies, giving Rihanna her eleventh number-one song on the chart, further extending her record as the artist with the most number ones  The song spent a second week at number one on the chart, with sales of 243,000 copies, bringing total sales to 1,057,000 copies sold, marking Rihanna's twentieth download to reach the million-selling milestone, extending her record for the most such downloads among women  On October 12, 2011, the song debuted at number 39 on the US Hot Dance Club Songs chart and number 21 on the Pop Songs chart  It eventually reached number one on both charts  It was, until 2013, the most recent song to spend at least two consecutive weeks atop the US Hot Dance Club chart, until Daft Punk's "Get Lucky"  "We Found Love" also peaked at numbers three and two on the US Latin Songs and Latin Pop Songs charts, becoming Rihanna's highest-charting single on both charts  Furthermore, the song reached the top spot on the Canadian Hot 100 chart 

Europe
In Harris's native United Kingdom, "We Found Love" debuted at the top of the UK Singles Chart, UK Dance Chart and UK Singles Download Chart on October 9, 2011 – for the week ending date October 15, 2011 – with 87,000 copies sold, despite only having been on sale for four days  With "We Found Love" debuting at the top of the UK Singles Chart, Rihanna set a record by becoming the first female solo artist to top the chart six times in five consecutive years, having previously held pole position with "Umbrella", "Take a Bow", "Run This Town", "Only Girl (In the World)" and "What's My Name" between 2007 and 2011  It was also Rihanna's sixth and Harris' third number one in the UK  The song retained its number-one position on all three charts for three consecutive weeks, selling 92,000 copies in its third week  Total sales for "We Found Love" in the United Kingdom stood at 372,268 after just 24 days  In its fifth week, the song fell a place to number two but then in its sixth week, the song returned to number-one for a fourth non-consecutive week and eventually topped the chart for six weeks, resulting in Rihanna overtaking Adele as the artist with the most cumulative weeks at number one in 2011 for a solo female artist, with a total of seven weeks between "We Found Love" and her January release "What's My Name?"  In addition, in its sixth week at number one, Rihanna scored her second "chart double" of the year when Talk That Talk and "We Found Love" placed at number one on the albums and singles charts, respectively  This achievement had not been achieved since 1979 and made Rihanna the first female artist in chart history to score two "chart doubles" in the same year, with the singer's previous album Loud and its second single, 'What's My Name?' topping both charts earlier in 2011  By February 2012, the single had racked up 1,006,460 copies in 19 weeks, making it Rihanna's second solo track (third overall) to reach the million sales plateau since October 2011, following "Love the Way You Lie" and "Only Girl (In the World)"  In November 2012, it was included on 'The Million Sellers' list by the Official Charts Company, consisting of the best-selling singles in the UK that have sold at least one million copies since 1952  It charted at number 76 out of a total 123, having sold 1 13 million copies  As of February 2016, the song has sold 1 39 million copies in the UK, making it Rihanna's biggest-selling single there  "We Found Love" is the 9th best-selling song of all time by a female artist in Britain Elsewhere in Europe, the song topped the charts in Denmark, Finland, France, Germany, Hungary, Ireland, Norway, Poland, Russia, Slovakia, Sweden and Switzerland and attained top-five positions in the Flanders and Wallonia regions of Belgium at numbers three and two, and reached number two in the Czech Republic and Spain and three in the Netherlands  In Germany "We Found Love" entered the single chart at number one on October 28, 2011, becoming Rihanna's fourth number one in the country  After being deposed for a week, the track rebounded to take the lead spending three further weeks at the top, becoming Rihanna's second longest-running number one hit in the country after "Umbrella" in 2007  The song topped certain European charts for lengthy periods, including in Norway for nine non-consecutive weeks, Ireland for seven consecutive weeks and Denmark for six weeks 

Music video
The music video for "We Found Love" was shot in Northern Ireland in late September 2011, in County Down, Northern Ireland and the New Lodge area of North Belfast   The video was directed by Melina Matsoukas, who had previously directed the videos for "Hard" (2009), "Rude Boy" (2010), "Rockstar 101" (2010) and the controversial "S&M" (2011)  Anticipation for the video grew in the United Kingdom when the national news picked up on the story of sixty-one-year-old Northern Ireland farmer Alan Graham withdrawing his permission to film in his barley field in Bangor, County Down after taking issue with Rihanna's clothing, focusing on her appearing topless and also wearing a red bikini top which he thought was an "inappropriate state of undress"  Rihanna and her film crew departed amiably after Graham advised them to "be acquainted with God and to consider His Son, the Lord Jesus Christ, and His death and Resurrection "The video begins with a monologue about love and heartbreak by an unseen narrator, fashion model Agyness Deyn  Multiple scenes of Rihanna and boxer Dudley O'Shaughnessy are intercut throughout the narration, depicting them in different love and hate situations with each other  The two are shown as completely enamored with each other while engaging in fun activities together, including enjoying their time at an indoor skating centre and eating in fast food restaurants  During the chorus, the video shows the romance to be somewhat warped, as images of drugs, various pills and dilated pupils are shown, while brief scenes of Rihanna and her boyfriend preparing to engage in sexual intercourse and their various stages of undress are shown  The chorus continues and the video abruptly cuts to Rihanna and other people at an outdoor rave, dancing to music  Calvin Harris features as the DJ during this scene 
From the second verse, Rihanna and her boyfriend are seen happily running amok in a supermarket, pushing each other in a shopping cart and spraying canned drinks at each other  This scene is interrupted with Rihanna in a Pontiac Trans Am outside with her boyfriend who begins to recklessly drive in circles, resulting in Rihanna asking him to stop the car which ensues into an argument between the pair  The video then progressively shows the couple experiencing mounting difficulties in their relationship  Rihanna removes herself from the car and returns moments later where we see her boyfriend grab her chin to look at him, suggesting that he is domestically violent towards her  During the final chorus Rihanna can be seen vomiting what appears to be pink and white streamers; she is also seen passed out on the street while her boyfriend tries to revive her  In another scene, Rihanna is seen lying on a couch while her boyfriend tattoos the word 'MINE' on her backside  Eventually, Rihanna decides to leave her boyfriend after finding him passed out on the floor of his apartment – and most likely due to the previous events shown throughout the video  The clip ends with Rihanna curled up in the corner of a room, crying The video generated controversy for its depiction of violence and drug use, as well as for Rihanna's removal of her clothes during filming  One journalist wrote, "The song is probably one of the most talked about in the country following the Barbadian being told to 'find God' after running naked through a Northern Irish farmer's field " It was described as a "disgrace" by an anti-rape campaigner, and Christian commenters worried about the effects of the video and that "Rihanna is damaging the moral and self-worth of young impressionable teens " However, The Guardian praised the video for being different in its time period and called it "a very British music video", comparing it to UK TV series, Skins  The video won a Grammy Award for 'Best Short-Form Music Video  As of January 2015, Billboard named the video as the second best music video of the 2010s (so far) 

Live performances
Rihanna performed "We Found Love" for the first time on November 14, 2011, during a concert of her Loud Tour in London  The song was then added to the setlist as the closing song for the rest of the tour until it ended on December 22  On November 17, 2011, Rihanna performed the song on first season of The X Factor USA  The performance featured Rihanna wearing torn jeans and a bomber jacket with neon signs also present on the stage  On November 20, 2011, Rihanna performed the song on the eighth season of The X Factor UK, featuring Rihanna wearing a small tartan dress On February 12, 2012, Rihanna performed "We Found Love" at the 54th Annual Grammy Awards held at the Staples Center in Los Angeles, followed by her duet single "Princess of China" with Coldplay for first time  John Mitchell from MTV News said he thought Rihanna looked "gorgeous" and that she gave "off a Tina Turner vibe — Rihanna rocked the blond locks she introduced recently, wearing a tight, belly-baring ensemble " USA Today's writer Ed Masley, praised the performance, describing it as "shout in shout-out"  The Huffington Post also noted that the performance had "a twinge of Tina Turner"  Time magazine graded the performance with an A, saying that "Rihanna never disappoints  Her pop songs are always danceable, often catchy and consistently awesome — sometimes they even have some substance to them  Similarly, her Grammy performance wasn't the flashiest or craziest, and she didn’t bust out dance moves the way other entertainers did, but it was one of the most enjoyable "Later that month, the singer performed the song at the Brit Awards held on February 21, 2012, at the O2 Arena in London  The performance began with Rihanna, in only an old grandad-style jumper covering her body, in a clear cage as colourful paint began to be thrown inside with her, although none was thrown onto the singer herself  Dancers were also present as Rihanna emerged from the cage and began dancing along the broad stretch of stage  The performance concluded with big multi-coloured balloons pouring down red confetti from the ceiling as they burst, finalizing with Rihanna returning to the paint-covered cage and smearing it over herself ending with her silhouette being broadcast through the cage  At the ceremony, Rihanna also won the award for Best International Female Solo Artist  Whilst promoting her first feature film appearance in Battleship, Rihanna made a visit to Japan, performing "We Found Love" on the Japanese music television program Music Station  She donned a traditional kimono and concluded the performance by crowd surfing into the audience  On April 24, 2012, Rihanna performed a special acoustic version of the song at the Time 100 gala for Time's selection of that year's 100 most influential people of which Rihanna was listed  Rihanna later performed "We Found Love" at Radio 1's Hackney Weekend on May 24, 2012, as the seventeenth and final song on the set list  The performance featured a giant sphinx on the stage  On September 9, 2012, Rihanna performed the single (along with "Princess of China" and "Run This Town") with Coldplay and Jay-Z at the closing ceremony of the 2012 Summer Paralympics in London, entering on a steampunk pirate ship and also suspended in the air on a metal bench  On December 9, 2012, Rihanna performed "We Found Love" in a medley with a solo version of "Stay" on the final of ninth season of The X Factor UK  She also performed the song at the 2016 MTV Video Music Awards  She performed the song as part of her set during the halftime show of Super Bowl LVII 

Cover versions
American singer Tinashe uploaded a music video for her cover on her YouTube account on October 21, 2011  British alternative rock band Coldplay, with whom Rihanna would later collaborate on their song "Princess of China", covered "We Found Love" on October 27, 2011, during a performance at BBC Radio 1's Live Lounge  Jocelyn Vena of MTV News called the performance "flawless", writing "Lead singer Chris Martin's haunting vocals and the band's acoustic rendition, using drums, piano and guitar, play up the sadness of the track " Jason Lipshutz of Billboard magazine also noted that the band used "piano flourishes, a kick drum and a simple guitar lick to convey the song's romantic declaration", while making a ballad which was "reminiscent of Bruno Mars' emotional reworking of Katy Perry's 'California Gurls'"  Matthew Perpetua of Rolling Stone wrote: "It may surprise that their rendition is actually pretty good  Whereas Rihanna's version is a thumping rave anthem, Chris Martin and company transform it into a lovely piano ballad nearly indistinguishable from many of their own songs " A writer for The Hollywood Reporter said: "Martin's vocals blend with the piano for a slightly softer take on the tragic love story " On February 17, 2012, British singer Jessie J made a cover of the song on BBC Radio1's Live Lounge Lea Michele and Naya Rivera covered the song in the climax of the third season's tenth episode of Glee, "Yes/No"  Romanian X Factor contestant Diana Hetea performed "We Found Love" in the "Public's Choice Gala" on December 10, 2011  Even though ill of laryngitis, Hetea's performance was praised all three judges that called it "[The] Perfect match for her!" both visually and vocally  Kris Allen also covered the song mashing it with other songs by Katy Perry and other female artists  Carmen Smith also performed "We Found Love" for her battle round in the Australian Version of the Voice which saw her through to next round In September 2012, Kelly Clarkson performed the song during a concert in Virginia Beach   In October 2012, British singer Ed Sheeran did an acoustic cover of the song for Sirius XM Radio  Lindsey Stirling covered it in a music video filmed in a Kenyan village  British pop rock band McFly covered "We Found Love" on their "Keep Calm And Play Lounder" tour 2012  Kele Okereke sang a verse of the song as the intro to his band Bloc Party's song "Flux" on their June 2012 U K  tour  In July 2014, Tori Amos covered the song on her Unrepentant Geraldines Tour  In 2011, Boyce Avenue, a pop rock band, also made an acoustic cover of the song and released it iTunes and their YouTube channel  In November 2012, Forever The Sickest Kids covered the song as part of Punk Goes Pop 5  
YouTubers Tom Scott and Matt Gray spoofed the song in their video 'Ten Illegal Things To Do In London ' The parody, where the song's chorus lyrics are replaced with 'We Flew A Kite In A Public Place,' plays over footage of Gray flying a kite in a public place, which is illegal in the U K  under the Metropolitan Police Act 1839 

Remixes
In November 2011, R3hab released a remix of "We Found Love" with a "Halloween" sound  He explained "I made two versions     one version is more melodic and euphoric  This [first] one is more dark because the lyrics [to] 'We Found Love' can also be seen as something dark  'We are at the end of the world/ And I still found love ' So from there came the more darker chord progression and the more darker atmosphere, like Dracula is coming to get you  It's just got a lot of emotion and that worked out great for me "On January 13, 2012, Rap-Up released a remix of "We Found Love" featuring American rapper Flo Rida  Flo Rida's parts overlap Calvin Harris' produced dance beats  In the opening lines, Flo Rida introduces himself and raps tongue twisters about Rihanna and The Bahamas, "You know I got love for you/ See what happened was we in Bahams/ I remember it was the ox summer, oh so pretty I/   Girl nice to meet you what's the honour/ Yeah she tap me told me she Rihanna "  He also references singer Mick Jagger singing that he is "rocking a party 'like I'm Mick Jagger " Flo Rida, himself in an interview with NME revealed that it was an honor for him to work with Rihanna  He also revealed that "We Found Love" was one of his favorite songs and that's why he decided to make a remix with Rihanna  He added that Calvin Harris' production impressed him and heavily influenced him on his future work  Rihanna also noted that she decided to work with Flo Rida because of his "wild" productions on his songs Andrew Unterberger of the website PopDust wrote that Flo Rida was "exactly" what the original version of "We Found Love" was missing  He added, "No Rihanna, you got it backwards—it's Flo Rida who needs to have other, more talented people on his songs in order to turn them into hits, not the other way around    At least this remix does feature a sizeable contribution from Flo, as he shows up on both the intro and over the song's primary instrumental hook with his trademark unintelligible yammering, though he gets in at least one reference to rocking a party 'like I'm Mick Jagger '" Matthew Perpetua of Rolling Stone praised the remix of the song, saying that "once again, Flo Rida shows his true rapping skills over the beat of Rihanna's 'We Found Love'"  Both Billboard's Erika Ramirez and Spin's Marc Hogan praised the remixed version calling it "refreshing" and "interesting"  However, Becky Bain of the website Idolator was more negative towards the remix  She noted, "Being that Rihanna's 'We Found Love' has enough beats and synths to be its own remix, not to mention it couldn't possibly be even more popular on the Hot 100    we find it pointless to release a new version of the single with Flo Rida "

Formats and track listings
Credits and personnel
Credits adapted from CD single liner notes Recording

Recorded at Fly Eye Studios, London, United Kingdom and Westlake Recording Studios, Los Angeles, California Personnel

Rihanna - vocals
Calvin Harris – songwriter, producer, recording, mixing and instrumentation
Marcos Tovar – vocal recording
Alejandro Barajas – assistant recording engineer
Phil Tan – mixing
Damien Lewis – assistant mixing

Charts
Certifications
Release history
See also
Passage 4:
Lightning (song)
"Lightning" is a song by British-Irish boy band the Wanted, taken as the third single from their second studio album, Battleground  It was released on 16 October 2011  The song was written by Steve Mac, Wayne Hector and Ed Drewett, the same team responsible for the band's number-one single, "Glad You Came"  The song debuted at number two on the UK Singles Chart, behind Rihanna's "We Found Love"  The single was originally intended for release in the United States, following the success of "Glad You Came", and a promotional remix single was issued, however, its release was cancelled 

Background
The song was written by Steve Mac, Wayne Hector and Ed Drewett  It was first premiered during the band's Spring 2011 tour, where many fans assumed it to be the first single from Battleground  The song kicks off with a thumping electronic beat, as Tom's raspy vocals come in: "You're in control, pressing pause on my heartbeat   "  During the chorus, the band sing: "I know it's a little bit frightening, we might as well be playing with lightning now-ow-ow " Band member Tom Parker said of the song, "We all felt it was a sound like we've never done before  It's the perfect prelude to the album, and a great song to get you in the mood for a party " The song premiered on mainstream radio on 17 September 2011  Band member Max George said of the song, "It was only really meant as a filler track  Something to keep the fans interested on the weeks leading up to the album release  We never knew it would be so successful "

Critical reception
A positive reception came from "CBBC Newsround" who rated it four out of five stars  They went on to say that "The verses aren't that catchy, but the chorus will get you humming in a lightning flash! " They also said that "the rousing singalong chorus is well worth waiting for " Another positive reception came from Digital Spy's Lewis Corner, who rated it four stars out of five and wrote that "[   ] The five-piece croon over a cool 'n' catchy melody more addictive than snacking on a tube of Pringles in front of the telly " [   ] "The results are strikingly similar; once you pop, you shamelessly can't stop no matter how much you try "

Promotion
The band performed the song live for the first time during the results show of the 16 October edition of The X Factor  They also made a special appearance on the Strictly Come Dancing Halloween Special to perform the song, on 30 October 2011 

Music video
The music video for "Lightning" was director by Matt Stawski  The video was filmed in LA, and premiered on 22 September 2011, via the Wanted's YouTube channel  The video features the members of the band performing during a rave, in a similar fashion to their "Glad You Came" video  The video is set at night, and also features many explosions and kissing scenes 

Track listing
Digital download"Lightning" – 3:23
"Lightning" (Chuckie Extended Mix) – 5:43
"Lightning" (The Alias Remix – Radio Edit) – 3:29
"Glad You Came" (Live Tour Performance) – 3:20UK CD single"Lightning" – 3:23
"Lightning" (Chuckie Extended Mix) – 5:43
"Lightning" (The Alias Remix – Radio Edit) – 3:29U S  promotional CD single"Lightning" (Radio Edit) – 3:24
"Lightning" (Digital Dog Radio Edit) – 3:21
"Lightning" (Digital Dog Club Mix) – 6:28
"Lightning" (Digital Dog Dub) – 6:10
"Lightning" (Almighty Radio Edit) – 3:23
"Lightning" (Almighty Club Mix) – 6:24
"Lightning" (The Alias Remix – Radio Edit) – 3:29
"Lightning" (The Alias Club Mix) – 7:11
"Lightning" (Chuckie Extended Mix) – 5:43
"Lightning" (Chuckie Club Mix) – 6:13
"Lightning" (Chuckie Dub) – 5:14

Charts and certifications
Release history
Passage 5:
The Wanted discography
British-Irish vocal pop group The Wanted have released three studio albums, one compilation album, two extended plays and fifteen singles  The band's debut album, The Wanted, was released by Geffen Records in the United Kingdom in October 2010  It reached number four on the UK Album Chart and number eleven on the Irish Albums Chart  The album's first single, "All Time Low", was released in July 2010 and peaked at number one on the UK Singles Chart and number thirteen on the Irish Singles Chart  This was followed by "Heart Vacancy", which reached two in the UK and eighteen in Ireland  "Lose My Mind", was the third and last single from the album and was less successful than its predecessors, reaching number 19 in the UK and number 30 in Ireland 
In March 2011, The Wanted released the official 2011 Comic Relief charity single, "Gold Forever", which peaked at number three in the UK and number 13 in Ireland  "Glad You Came", the Wanted's fifth single, was released in July 2011 and became their second number-one single in the UK and their first in Ireland; it also charted in the US, Australia, and Europe  In October, their sixth single, "Lightning", debuted and peaked at number 2 on 23 October 2011  This was followed by second album Battleground, which got to number 5 
In 2012, the band released "Chasing the Sun", the lead single from their then-untitled third studio album and the theme song of the animated film Ice Age: Continental Drift (2012)  Four further singles were released, including top 5 hits "I Found You" and "Walks Like Rihanna", before long-awaited third album Word of Mouth finally dropped in November 2013  After the album only reached number 9 in the UK and number 17 in the US, the band announced an indefinite hiatus 
The band reunited in September 2021 and released their first greatest hits album in November 2021, which included two new songs 

Albums
Studio albums
Compilation albums
Extended plays
Singles
As lead artists
Promotional singles
Other charted songs
Other appearances
Music videos
Passage 6:
Gabrielle Aplin discography
The discography of British singer-songwriter Gabrielle Aplin, consists of four studio albums, 17 extended plays, three live albums and 18 singles  Her first release was the 5-track Acoustic EP which was released on the iTunes Store on 13 September 2010  Her second EP Never Fade was released on 9 May 2011 and saw Aplin expand her sound, showcasing a more folk rock sound and playing all instruments herself  In April 2011, Aplin was invited to perform for BBC Introducing at Maida Vale Studios, where she played 3 tracks from Never Fade and a cover of the Coldplay song "Fix You"  Aplin released her third EP, Home, on 9 January 2012  On 29 February 2012, Aplin announced that she had signed to Parlophone  Aplin was confirmed as the soundtrack to the John Lewis 2012 Christmas television advertisement, covering Frankie Goes to Hollywood's "The Power of Love", the song reached number one on the UK Singles Chart On 12 December 2012, Aplin announced that the title of her debut album would be English Rain  In addition, she also unveiled its artwork and release date of 29 April 2013  However, the album's release date was later confirmed as 13 May 2013  Aplin announced live on 17 February Radio 1 Chart Show that her third single would be "Panic Cord"  The song originally featured on her Never Fade EP and it was released on 5 May 2013, charting at number 19 on the UK Singles Chart  English Rain charted at number 2 on both the UK Albums Chart and Scottish Albums Chart, while reaching number on the Irish Albums Chart  In 2014, Aplin released her English Rain EP in the United States  The EP was released on 6 May and features 5 songs from her debut album, as well as a cover of Canadian singer Joni Mitchell's "A Case of You"  In 2015, Aplin released her second studio album entitled Light Up the Dark  Light Up the Dark debuted at number 14 on the UK Albums Chart 

Albums
Studio albums
Live albums
Extended plays
Singles
As lead artist
As featured artist
Other appearances
Music videos
Passage 7:
Gold Dust (DJ Fresh song)
"Gold Dust" is a song by British-based DJ and record producer DJ Fresh  It is the third single released from his second album Kryptonite 
Originally put out as a 12" in 2008, it was re-released in 2010 featuring vocals from Ce'cile although there is a version of the song on his album Nextlevelism which features Ms  Dynamite  The 2010 version of the song peaked at number 24 on the UK Singles Chart  The music video was directed by Ben Newman and edited by Jacek Zajkowski  In 2012, Shy FX made a 're-edit' of the song that was re-released to radio  This version reached number 22 on the UK Singles Chart and number 39 on the Irish Singles Chart 
The sales of all versions are combined enabling it to have sold in excess of 600,000 copies, receiving a Platinum certification, despite never reaching the top twenty of the UK Singles Chart 

Music video
The official music video was filmed at the Brownsville Project in Brooklyn and captures some performances by American Double Dutch champions, Jumpers in Command  The youths are seen doing various activities including skateboarding, skipping, and free running 

Critical reception
Fraser McAlpine of BBC Chart Blog gave the song a positive review stating:

Sometimes the brightest gems are right in front of your eyes, hiding in plain sight  Or just obscured by people who know they are there, but have forgotten to tell you 
With this song, and its fantastic video, I will admit that my attention was miles away, probably raking through some slower, drabber, less fun things (ie: ANYTHING ELSE)  I had no idea something this ker-ay-zee, this life-affirming, this astonishingly chipper was released across on my beloved internet just seven days ago, until a friend dragged me over to look at what he called "the skipping video" on his phone 
Yeah, that's right, a skipping video  I mean how impressive can a video which features people either successfully or unsuccessfully jumping over a moving rope actually b   oh my LORD have you SEEN THE SKIPPING VIDEO? YOU'VE GOT TO SEE THE SKIPPING VIDEO! THE SKIPPING VIDEO IS AMAZING!  

Track listings
Chart performance
Certifications
Release history
Passage 8:
Grace Kelly (song)
"Grace Kelly" is the second single by British singer Mika  It is the opening track on Mika's debut studio album Life in Cartoon Motion (2007)  Produced and mixed by Greg Wells, the song entered the UK Singles Chart at number three and the UK Official Download Chart at number one  One week later, it jumped to the top of the UK Singles Chart on download sales alone, the second song to do so after Gnarls Barkley's "Crazy" the previous year  The track was number one on the UK Singles Chart for five weeks, and ended 2007 as the year's third biggest-selling single in that country  In the US, "Grace Kelly" was made available for digital download on 16 January 2007  This song was also No  89 on MTV Asia's list of Top 100 Hits of 2007  It was designed to be a mocking satire of musicians who try to reinvent themselves to be popular 
The song is titled after Academy Award-winning American film and stage actress, and Princess of Monaco, Grace Kelly  The bit of dialogue used in the song is from the film The Country Girl, which stars Kelly  Mika claims the song was inspired after a bad experience with a record company executive, in which he was told to be more like Craig David  The lyric "So I tried a little Freddie" is a reference to Queen's Freddie Mercury, to whose singing voice Mika's has been compared  On at least one occasion, Mika confirmed that he used the main melody from Figaro's famous aria "Largo al factotum", from the opera The Barber of Seville by Gioachino Rossini  Mika performed the song at the MTV Europe Music Awards 2007 in Munich and at the 2008 BRIT Awards at the Earls Court Exhibition Centre, London, where it was nominated for Best British Single, but lost to "Shine" by Take That  The song has sold over 630,000 copies in the UK, as stated by the Official Charts Company 

Background and composition
Mika wrote the song after he felt frustrated with record label executives that wanted him to change his sound to fit the common pop mold  In the song, Mika points out how he can pretend to be anyone he likes to win approval – in this case the glamorous actress Grace Kelly  He wrote the song after the record company told him that they wanted to model his look and sound on Craig David, who was popular at the time in the UK  Mika rejected this idea and wrote "Grace Kelly" as a way of expressing his individuality  The song's melody is based on the aria "Largo al factotum", from the opera The Barber of Seville by Gioachino Rossini 

Critical reception
The song received positive reviews from music critics  Heather Phares from AllMusic wrote a positive review for the song, stating that "Mika's singles are his most charming moments, including the instant sunshine of "Grace Kelly," which crams tap-dancing rhythms, filmic dialogue, Elton's pianos, Freddie's vocal harmonies, and Brian May's guitars into just over three minutes " Christian John Wikane from PopMatters wrote an extensive article about the comparisons between Mika and Freddie Mercury, writing that "he sounds a lot like Mercury and wears the influence like a badge of honor, even name-checking the late front man of Queen in the first verse  Mika vacillates between the affected theatricality of Mercury's full-throttled voice and his own strong falsetto, where he earnestly implores "Why don't you like me?" no less than 12 times Beth Johnson from Entertainment Weekly wrote that "Nothing quite matches the crystal-shattering exuberance of hit Grace Kelly " John Murphy from musicOMH wrote that "It's big, joyous, dumb pop, and the only danger with it is that you'll be utterly sick of it fast " Lizzie Enever from BBC Music was direct, writing that "Grace Kelly is a great pop song – it's catchy, you can't help singing along and it grates on you after a few days when you can't get it out of your head but you still go back for more – flawless credentials " Graham Griffith, also from About com, wrote that the song "is an outrageously irresistible and infectious pop gem " Dom Passantino from Stylus Magazine criticized the track, writing that "it seems to suggest the boy has some level for musicals, being as it is all Broadway flittering and hackneyed attempts at conveying a story with its lyrics  But here's the problem: he's got no tales to tell, just a tab at his local make-up supplier  "Am I too dirty, am I too flirty?" he sings at one point "

Accolades
At the 2007 World Music Awards, Mika won for Best Selling British Artist, Best Selling New Artist, Best Selling Male Entertainer, and World's Best Selling Pop Rock Male Artist 

Live performances and covers
Top 50 contestant of American Idol Josiah Leming performed a rendition of the song in Hollywood for the judges, which received great praise 
A version by Mika appears on the 2007 compilation album The Saturday Sessions: The Dermot O'Leary Show 
Mika performed this song on series 4 episode 3 of The Friday Night Project on 19 January 2007  James Nesbitt was the host that night 
The Whiffenpoofs performed the song on The Sing-Off on 6 December 2010 
Bindi Irwin and Derek Hough performed the song on Dancing with the Stars (U S  season 21)
Josef Fečo performed the song on The Voice Česko Slovensko on 1 March 2019
In September 2021, TikTok users, including Ryan Reynolds and Will Ferrell, took part in a challenge where the user records the different vocal parts of the chorus on top of each other making a full harmony 
In May 2022, Mika performed this song as part of the interval medley at the Eurovision Song Contest 2022, which he co-hosted 

Parodies
Rory Bremner recorded a parody version to illustrate the problems of UK Prime Minister Gordon Brown 
Amateur Transplants's song "Libel Case" from their 2008 album Unfit to Practise 
Subwoolfer released a parody song of Mika's "Grace Kelly" titled "Space Kelly"; a parody Eurovision round-up song of their competitors and making light of their true identities 

Appearances
The Hills
Ugly Betty
A Turkish Coca-Cola advertisement
An Israeli advertisement of "Misdar Zihoi"
A trailer for Disney Cinemagic
A trailer for I Now Pronounce You Chuck and Larry
A trailer for The Ugly Truth
The 2008 episode of Silent Witness "Lost Child", as a 27-year-old transforms himself into a schoolboy
An advertisement for Neighbours
What Happens in Vegas   
Dead Set
The Doctor Who novel "The Pirate Loop"
The Sarah Jane Adventures episode "The Mark of the Berserker"
An episode of Celebrity Big Brother
An advertisement of Confessions of a Shopaholic
Autumn 2007 episodes of Corazón de Otoño
The European Nintendo DS version of Band Hero
A German first season trailer for Weeds
The adult-oriented Wii game We Dare, as a cover version
FC Barcelona's official video for Thierry Henry in Barca Legends series

Music video
The music video for the song "Grace Kelly" was directed by Sophie Muller and starred Mika and future singer-songwriter Mae Muller  The video was filmed in early November 2006 and has been nominated for numerous worldwide awards  The instrumental introduction in the video is an extract of the acoustic version of the song found on certain releases of the album 

Track listing
Australian CD single

"Grace Kelly" – 3:08
"Grace Kelly" (Linus Loves Radio Edit) – 3:20
"Over My Shoulder" – 4:44
"Grace Kelly" (Video)UK CD single

"Grace Kelly" – 3:08
"Grace Kelly" (Linus Loves Radio Edit) – 3:20
"Over My Shoulder" – 4:44Limited edition 7" vinyl

"Grace Kelly" – 3:07
"Satellite" – 4:15UK 12" vinyl

"Grace Kelly" (Linus Loves Full Vocal Remix) – 6:46
"Grace Kelly" (Linus Loves Dub Remix) – 6:40
"Grace Kelly" (Tom Neville Full Vocal Remix) – 6:48
"Grace Kelly" (Tom Neville Dub Remix) – 7:08

Official versions
"Grace Kelly" – 3:07
"Grace Kelly" (Acoustic Version) – 3:07
"Grace Kelly" (Bimbo Jones Remix Edit) – 3:00
"Grace Kelly" (Bimbo Jones Remix) – 6:26
"Grace Kelly" (Les Grandes Gueules Version) – 3:07
"Grace Kelly" (Linus Loves Radio Edit) – 3:20
"Grace Kelly" (Linus Loves Full Vocal Remix) – 6:46
"Grace Kelly" (Linus Loves Dub Remix) – 6:40
"Grace Kelly" (Pull Tiger Tail Remix) – 4:26
"Grace Kelly" (Tom Neville Full Vocal Remix) – 6:48
"Grace Kelly" (Tom Neville Dub Remix) – 7:08

Chart performance
It reached number one in the United Kingdom and in Ireland  The song was only the second single ever to top the UK chart without selling a physical copy ("Crazy" by Gnarls Barkley was the first)  In the US market, it peaked at number 57 on the Billboard Hot 100  The December 2007 Observer Music Monthly asked Mika how it felt getting to No  1 in the UK with this song  He replied: "Very unreal  It still feels unreal  It's just a song I wrote in my room  By the time I'd written 'Grace Kelly' everything in my life had been called into question  Trying to find out what I was going to do with my life, trying to be a musician, to be independent, to give myself the remote chance of any kind of a relationship  I was just sorting every thing out in my head  That song sums it all up " It went to #1 on the United Kingdom, Czech Republic, Ireland, Italy, Norway and Turkey singles charts  The song was 82 in the French physical charts but number 2 in digital ones, and has more than 50,000 sales in the country  The song has more than 5 million sales 

Charts
Certifications
See also
List of number-one hits in Denmark
List of number-one singles of 2007 (Ireland)
List of number-one hits of 2007 (Italy)
List of number-one hits in Norway
List of number-one singles from the 2000s (UK)
Passage 9:
Royal Blood discography
English rock duo Royal Blood have released three studio albums, two extended plays (EPs), fourteen singles and nineteen music videos  Formed in Brighton in March 2011, Royal Blood consists of bassist and vocalist Mike Kerr and drummer Ben Thatcher  After signing with Warner Bros  Records, the duo released their debut single "Out of the Black" in October 2013, which debuted at number 29 on the UK Rock & Metal Singles Chart  In February 2014, "Little Monster" was issued as the band's second single, registering on the UK Singles Chart at number 95 and the UK Rock & Metal Singles Chart at number one  Both singles were later issued alongside their B-sides on the EP Out of the Black in March  "Come On Over" – initially featured as the B-side to "Out of the Black" – was released as a single in April, reaching number 68 on the UK Singles Chart  At the same time, "Little Monster" also returned to the charts, peaking at number 74 on the UK Singles Chart Royal Blood's self-titled debut album was released in August 2014, topping the UK Albums Chart, Irish Albums Chart and Scottish Albums Chart  The week before the album's release, "Out of the Black" registered on the UK Singles Chart at number 78, while the band's fourth single "Figure It Out" debuted at number 50 (it would later peak at number 43)  Royal Blood was certified gold by the British Phonographic Industry (BPI) by September, and eventually received a platinum certification for sales in excess of 300,000 units  "Ten Tonne Skeleton" was released as the fifth and final single from Royal Blood in late 2014; it charted in Canada only, reaching number 45 on the Canadian Rock Songs chart  "Where Are You Now?", featured on the TV series Vinyl, also registered on the chart, peaking at number 43 In April 2017, it was announced that Royal Blood's second album How Did We Get So Dark? would be released in June  "Lights Out" was issued as the first single from the album the same month, debuting at number 96 on the UK Singles Chart and number one on the UK Rock & Metal Singles Chart  How Did We Get So Dark? debuted atop the UK Albums Chart upon its release, while a total of ten tracks from the album reached the top 20 of the UK Rock & Metal Singles Chart The band officially announced their third studio album Typhoons on 21 January 2021, with a planned release date for 30 April 2021  The band released three singles from Typhoons preceding the album's release: "Trouble's Coming", "Typhoons", and "Limbo" 
On May 26, 2023, Royal Blood released "Mountains at Midnight", the first single preceding the release of their forthcoming fourth studio album, Back to the Water Below, due for release on the 8th of September, 2023 

Studio albums
Extended plays
Singles
Featured singles
Other charted songs
Music videos
Footnotes
Context 2: Passage 1:
Woman on the Edge of Time
Woman on the Edge of Time is a 1976 novel by American writer Marge Piercy  It is considered a classic of utopian speculative science fiction as well as a feminist classic  The novel was originally published by Alfred A  Knopf  Piercy draws on several inspirations to write this novel such as utopian studies, technoscience, socialization, and female fantasies  One of Piercy's main inspirations for her utopian novels is Plato's Republic  Piercy describes the novel as, "if only…" Piercy even compares Woman on the Edge of Time and another one of her utopian novels He, She, and It when discussing the themes and inspirations behind it 

Plot summary
In the 1970s, an impoverished and intelligent thirty-seven-year-old Mexican-American woman Consuelo "Connie" Ramos, a resident of Spanish Harlem, is unfairly incarcerated in a New York mental hospital due to her supposed violent criminal tendencies  She had been recently released from a previous voluntary commitment in a mental institution after an episode of drug-related child neglect, which led her also to lose custody of her daughter  Connie is caught within the government welfare and child custody labyrinth of 1970s New York City  She is after the first scene recommitted involuntarily by her niece's pimp on grounds of violent behavior, after she strikes him in the course of protecting her niece, Dolly (Dolores), from him  Dolly had sought Connie's protection because she was being forced by the pimp into having an illegal abortion  
One of Connie's chief abilities is her perceptiveness and empathy  As a result, before being committed, Connie had for some time begun to communicate with ("receive" from) a figure from the future: an androgynous young woman named Luciente  Connie retains her visions and her connection, which become more and more real, even while heavily drugged in the mental hospital in New York, based loosely on Bellevue and other mental institutions from that period  Luciente is time-traveling from a future (the date is given as 2137), in which a number of goals of the political and social agenda of the late sixties' and early seventies' radical movements have been fulfilled  Environmental pollution, patriarchy, homelessness, homophobia, racism, ethnocentrism, phallogocentrism, sexism, class-subordination, food injustice, consumerism, imperialism, and totalitarianism have been effectively dealt with in this world, which is governmentally decentralized in a loose version of anarchism  
In contrast to the contemporary 1970s setting in an abusive mental institution where patients are labelled "violent," "incapable," "irrational," etc  on the basis of their response to an unjust and harshly stratified class-, race-, and gender-ridden society, future dwellers experience enormous personal freedom and train one another in self-control and ways of producing win-win results in all social situations  In particular, the subjects of volition and free will, mental institutionalization, and interference in others' willed actions are key to the vision of the utopian future  Connie is introduced by Luciente to the agrarian, communal community of Mattapoisett, where children grow up in a culture where they are encouraged to know themselves and their own minds and emotions thoroughly through practicing a type of meditation from an early age ("in-knowing"), in the service of social harmony and the ability to communicate with others without domination or subservience  
This classless, gender-neutral (non-gendered pronouns are used, notably "per" or "person" for he or she), racial-difference-affirming society is sketched in detail, including meeting and discussion structures that eliminate power differentials as much as possible, the extensive use of technology only for social goods, the replacement of business and corporate agendas with general planning for social justice and respect for all human beings' individuality  Disputes between towns and regions are settled peacefully through discussion and merit-based competition of ideas, with the winning parties being obliged to "throw a big party for" or otherwise conciliate the losers in each case, in order to maintain friendly relations  
A 1970s emphasis on individual freedom can be seen at times: each person lives in a private tent or one-room home, and children develop outside the womb of an individual and are adopted by three "mothers" (of any gender) who guard and teach them only until puberty; every person chooses their own name, and can also choose their field of study and work, as well as when to disengage from their community, or join a new one; total freedom also applies to one's mental and emotional choices—in this future world one can check oneself into and out of the equivalent of a sanitorium at will, go into or out of various kinds of therapy, or take a mental break in some other way, and no other person has the right to choose this on one's behalf  One's field of work is self-chosen, and dicta apply to both one's life path and one's mental or emotional desires, needs, and capacities: "Per must not do what per cannot do" and "Per must do what per needs to do" are applied to both personal/emotional and professional life choices insofar as possible  There are limits to this utopia, which threaten always at the margins: the death penalty is imposed on occasion, and war is in the background, but both are considered extreme and unusual measures 
Connie learns tools of emotional and physical survival from Luciente and the future population of Mattapoisett, and comes to feel that she is living at an important time in history, and that she herself is in a pivotal position; her actions and decisions will determine the course of history  In particular, it is slowly revealed that Luciente's utopia is only one possible future; alternate futures are a possibility, and the novel shows us one example— a future consumerist, hyper-capitalist, environmentally sick and strictly classist, racist, and gender-stratified society in which a wealthy elite live on space platforms, sustaining themselves by dominating and exploiting the majority of the population through total control of knowledge and technology, personal control extending to physical "farming" of bodies (harvesting organs regularly) and the surgical control of moods through the use of psychotropic drugs  Women in this intensely violent, misogynistic and homophobic world are valued and "grown" solely for appearance and sexuality, and plastic surgery that gives women grotesquely exaggerated sexual features is commonplace 
It does not decide for the reader whether Connie's visions are by-products of her mental instability or are literal time-travel, but ultimately, Connie's confrontation with the future inspires her to violent revolt against her institutional captors  She uses her limited means, despite her very restricted situation, in a desperate and apparently heroic way to prevent the dissemination of the mind-control technology that makes the future dystopia possible, putting an end to the mind-control experiments and prevents the lobotomy operation that had been planned for her and hundreds of other imprisoned patients  Connie acts in the tradition of revolts by oppressed or subaltern classes to put a wrench into the system of oppression within which she is caught  Though her revolutionary action ensures her own permanent incarceration and possible death sentence, and may not ensure the existence of the Mattapoisett future, Connie nevertheless sees her act as a victory, and perhaps the reader is encouraged to agree: "I'm a dead woman now too  … But I did fight them  … I tried "

Major themes
Social transformation
The essence of Piercy's utopian vision is social transformation achieved after the existing civilization had been destroyed through environmental degradation and war  "The transformation of existing society into utopia is a precarious enterprise attainable only through a process of making choices and crossing boundaries " Descriptions of Mattapoisett, the potential future society described in the novel, emphasize that collective struggle has led to their egalitarian lifestyle and collective action is how they get along so well  "What is most important in Piercy's concern with activism is the basic connection between personal action and historical change itself  The revolution is not inevitable  It is a process of change that may require appropriate conditions and happen more readily at particular historical moments, but it will not happen at all without personal commitment and struggle " The reader is left to decide whether Mattapoisett and the self-determination of its inhabitants are real or figments of Connie's imagination  "By couching the reality of Connie's visions in ambiguity, the text questions the idealism of utopian thinking while showing that social change nevertheless starts in the realm of ideas " The novel criticizes mental institutions and hospitalization of its time extensively, and brings the problem of free will to the forefront as well as suggesting alternative routes to mental wellness and social reform  Throughout the novel, Piercy demonstrates that violence is the key to getting change to occur  Connie's revolt against the system may have been unsuccessful, but it had inspired others to continue to fight  This overarching theme ties into real life as feminists and other activist groups have fought for social change during the 1970s 

Feminism
Piercy has described Mattapoisett as not a utopia "because it's accessible  There's almost nothing there except the brooder not accessible now  So it's hardly a utopia; it is very intentionally not a utopia because it is not strikingly new  The ideas are the ideas basically of the women's movement "  Each character in Mattapoisett has a counterpart in Connie's present world, juxtaposing differences in personal power hence, opportunities for self-actualization  For example, Connie's friend Skip who has been committed to the mental institution by his father for being gay reminds her of Jackrabbit, a bisexual person who is not only accepted but very popular in Mattapoisett  In stark contrast to the mental hospital where the doctors are all men, in Mattapoisett, women have a special tradition and role in healing, and positions of power rotate among men and women alike  Even traditional parental power has been done away with, and the experience of motherhood is shared among women and men, as technology has been developed to gestate babies in a mechanical brooder and men have been enabled to breast-feed  Motherhood is seen as a duty to be shared equally by each parent, regardless of gender  "In addition, critics have treated the novel as an allegory for the conflict in academia between dogmatic feminism and the commitment to motherhood " "The deconstruction of power structures is continued on a linguistic level, where Piercy deletes the dimorphism of the objective and possessive pronouns 'his' and 'her,' which have been replaced with the unisex 'per' referencing the single personal pronoun 'person '" Feminist futurists argue that Piercy's nonlinear and complex structure of the novel leads to a more broad argument in regards to feminism  This idea is arguing to show that in order to deal with feminist solutions for the future, that there are problems from the past that must be addressed 

LGBTQIA+ equality
The idea of queer characters can be seen throughout the novel with Skip, Jackrabbit, and Luciente  Piercy shows the Skip going to a mental hospital for being gay showcasing her continuation of struggle other individuals  Also, Luciente has a queer relationship with her friend Diana  Piercy through this novel shows through the struggles of queer characters that there is progress to be made for those who are queer  Connie goes through a journey in Mattiposett in regards to the queer characters as she associates gendered roles to parents of the children  This is disproven by Luciente as they have both masculine and feminine qualities while in a queer relationship  Connie soon adapts to this idea by and begins to embrace homosexuality casting aside her patriarchal ideals from her present time  Through Piercy's portrayal of Connie's adaptation to Mattipoisett's homosexual relationships, it continues to show Piercy's point of queer progress in the novel 

Publication history
Literary significance and reception
Early reviews called the novel absorbing and exciting and beautifully written, but also polemical and didactic  Piercy's utopia was noted for "literally embodying every ideal of the counterculture/Movement: ecological wisdom, community, androgyny, ritual, respect for madness, propertylessness, etc " At the time, leaving the Sixties behind, American novels generally shared a post-apocalyptic feeling, asking "what are to be the new social and spiritual arrangements now that the old ones are completely shattered?" In that context, Roger Sale, in the New York Times, found nothing new in Woman on the Edge of Time, calling the book imitative and derivative, and pointing out that "the major instruments … are terribly familiar pieces of apparatus, the mental hospital and a utopian community of the future " Academic reviews, however, placed the novel among the important innovative fiction of the mid-1970s, characteristically works of social realism, all in some way describing a "new consciousness," "even though they don't always use the techniques of verisimilitude, and despite the mythical dimension of their representative characters "Combining feminist ideals with utopian visions of a future society based on principles of community and equality, Piercy imagined a post-apocalyptic world that established Woman on the Edge of Time as an early feminist innovation in the traditionally male genre of dystopian fiction  Depictions of sexuality and relations between the genders were already recognized as useful elements in depicting the conflict between individual and societal demands  "For example, the governments of dystopian societies like those described in We, Brave New World, and 1984 all focus on sexuality as a crucial matter for their efforts at social control  And it is also clear that this focus comes about largely because of a perception on the part of these governments that sexuality is a potential locus of powerful subversive energies " Woman on the Edge of Time "finely counterpoints the utopianism of Mattapoisset with the dystopian realism with which Connie's actual world is represented " The novel has been analyzed as a dystopia, as speculative fiction, and as realist fiction with fantastic episodes  "By her vivid and coherent descriptions of new social institutions, Piercy has answered the famous Cold War dystopias like 1984 and Brave New World which lament that there is no possibility of imagining an anti-totalitarian society " The book is often compared with other feminist utopian or dystopian fantasies such as Ursula K  Le Guin's The Dispossessed and The Left Hand of Darkness, Joanna Russ's The Female Man, Angela Carter's The Passion of New Eve, and Margaret Atwood's The Handmaid's Tale 
Passage 2:
He, She and It
He, She and It (retitled Body of Glass in the United Kingdom) is a 1991 cyberpunk novel by Marge Piercy  It won the Arthur C  Clarke Award for Best Science Fiction novel in 1993  Set in a post-apocalyptic America, the novel follows the romance between a human woman and a cyborg created to protect her community from corporate raiders, while interweaving a secondary narrative of the creation of a golem in 17th century Prague  Like Piercy's earlier novel Woman on the Edge of Time (1976), He, She and It also examines themes such as gender roles, political economy, and environmentalism 

Plot summary
The main story of He, She and It is situated in North America in the near future of the year 2059  At that time, the economic and political power is held by a few multis—huge multi-national enterprises with their own social hierarchy that have produced an affluent society  The main part of the population, however, lives in the glop outside of the multis' enclaves within an environment that has mainly been destroyed  Here, life is dominated by poverty, gangs and the law of the stronger man  An exception to this is the so-called free towns that are able to sell their technologies to the multis but remain autonomous  Communication is handled via a network which allows the participants to project themselves into Cyberspace 
When the protagonist Shira loses custody of her son Ari to her ex-husband Josh, she returns from her multi Yakamura-Stichen (Y-S) to her hometown Tikva (Hope in Hebrew) - a Jewish freetown   There, she starts working on the socialization of the cyborg Yod (the tenth letter in Hebrew and a symbol for God in Kabbalah), who has been created illegally by Avram to protect the city  Yod is the tenth cyborg (a robot with human appearance and programmed human characteristics) in a row of previously failed experiments whose programming has partially been completed by Malkah, Shira's grandmother  While Shira and Yod build up a (sexual) relationship, Shira's childhood sweetheart Gadi, Avram's son, also comes back to Tikva  Gadi returns due to his banishment for sleeping with a young girl  When Malkah is working on a chimaera (security software) to protect the city from online attack, she is attacked by Y-S  Yod, however, is able to prevent the attack  Eventually, Y-S invites Shira to a new hearing concerning the custody of her son  Shira is accompanied by Yod, her mother Riva, and  Nili, a biotechnologically enhanced woman from a nuclear-devastated Israel, when the situation escalates  The Y-S delegation and Riva die in the fight  Thereupon Shira, Malkah and Yod decide to infiltrate the Y-S network base  They manage to get hold of personnel files revealing a conspiracy against Shira and Tikva 
As the next step, Shira and Yod are accompanied by Nili and Gadi into the Glop  Here, they get in contact with an organized underground group in which they discover Riva is still alive and participating in resistance activities   From the Glop, they travel into the Y-S enclave in Nebraska to kidnap Ari  There, Josh is killed by Yod  Back to Tikva, Shira's family spends some quiet time until Y-S invites them to a further meeting on the net  Y-S demands that Yod be handed over, for Y-S to acquire its technology  Avram agrees to the deal with the hope of creating another cyborg  So, Yod agrees to destroy him/itself when sent to the enclave  However, Yod made sure that his own explosion would cause a synchronous explosion in Avram's lab  As Avram dies in this accident and all his notes are destroyed, the creation of a further cyborg becomes impossible 
Finally, Malkah leaves Tikva with Nili to visit a secret town in post-nuclear holocaust Israel and to profit from the possible biotechnological enhancements  Shira is integrated into Tikva's society further  When she discovers copies of the notes concerning Yod, she initially plans on recreating Yod; ultimately she respects Yod's wishes and destroys them 
The main plot is interwoven with a story Malkah tells Yod that deals with Rabbi Judah Loew who Malkah depicts as her ancestor living in the ghetto of Prague around 1600  To protect the Jewish community from the Christian mob, Loew uses the knowledge of Kabbalah to create the golem Joseph from clay  His granddaughter Chava, a highly educated woman, teaches Joseph to read and write  Joseph successfully protects the ghetto and begins to think of himself as human and makes a plea for his right to a human existence  However, when the pogrom climate calms down, Loew returns Joseph to clay  The two stories are mutually illuminating, both asking what it means to be human both from the perspective of the man-made life and that of those who love the artificial lives 
Passage 3:
December (magazine)
December is an independent nonprofit literary magazine that was founded in 1958  The journal was part of both the little magazine and the small press movements of the 1950s and was revived in 2012  December publishes original prose, poetry, and art submitted by new writers and artists, as well as previously unpublished work by distinguished literary figures   Former and current contributors include Joyce Carol Oates, James Wright, Marvin Bell, Marge Piercy, and Raymond Carver  December's mission is to promote unheralded writers and artists, celebrate fresh work from more seasoned voices, and advocate for its contributors in local literary and art communities 

History
December was founded in Iowa City in 1958 at the Iowa Writers' Workshop, and moved to Chicago in 1962, where it was passed to Curt Johnson, a short story writer and novelist   Johnson privately funded december and published the journal until his death in 2008  During this time, december featured the early work of many unknown artists and writers, most notably Raymond Carver, who first appeared in december in 1963 with his short story "Furious Seasons " Writers who published some of their first work in december include 5 U S  Poets Laureate, 6 Pulitzer Prize winners, 8 National Book Award winners, 5 O  Henry Award winners, and 9 Guggenheim fellows 

Revival
December was revived in 2012 by journalist and fiction writer Gianna Jacobson, and Volume 24 was released in December 2013   December releases two issues per year   The revival issue features new material from several of december's original contributors as well as from some contemporary authors and artists  December also has two contests each year, the Curt Johnson Prose Awards, judged in 2015 by Joyce Carol Oates and Albert Goldbarth, and the Jeff Marks Memorial Poetry Prize  It accepts submissions and only publishes original, previously unpublished work 

See also
List of literary magazines
Passage 4:
Vida (novel)
Vida is a 1979 novel by Marge Piercy 

Summary
The eponymous heroine is a 1960s anti-war and pro-environmental activist who has in the modern day (1980s—when the novel was written and is partially-set) become part of an illegal underground revolutionary network which resembles the real Weatherman (later known as the Weather Underground)  The story is told in the then present-day and in flashbacks to the 1960s  Vida struggles to maintain a double life; still having contacts with legitimate members of society, notably her lover Leigh, while continuing to carry out illegal actions against the government 

The novel is notable for describing what everyday-life was like for 60s radical fugitives living "underground", as Jo Walton writes:Vida here is realising that the choices she has made have left her  irrelevant not just politically but personally—her husband is marrying and having a baby with someone else, she is trapped with the other fugitives she increasingly dislikes, writing position papers nobody reads  She has false papers, a false name, she uses codes on the phone with her sister, she constantly has to appease people who are helping her  It’s very hard for her not to feel useless, because in fact she is useless, the revolution she was waiting for never happened, and she can’t be with the people she loves  And the other characters are just as real and well developed, even the minor characters 

Reception
John Leonard wrote in the New York Times:Vida is feisty, she is also emblematic  Marge Piercy, in her sixth novel, employs Vida to tell us exactly how it was in the lofts of the Left as the 1960s turned into the 1970s, as the massive peace marches turned into a tantrum of the cadres  This is the way everybody sounded, as if translated by thumb from the German and the Russian and the Chinese, at the endless meetings to establish policy  This is the way everybody behaved, in games of faction and musical beds  Here are the people who sold out -- to the media, the academy, the cops and medical school -- and those who persevered, in their purity and rage 
There is no reason to doubt that underground life for the radical fugitives is exactly as Miss Piercy describes it -- with pay phones ringing on prearranged hours on prearranged days, the switching of subways, the mail drop and the "safe house," the motel room and the Brooklyn Botanical Garden, the commune in Los Angeles and the A-frame in Vermont    
Cynthia Macdonald wrote in the Washington Post:MARGE PIERCY's strong, complex yet lucid political  novel is a flame-opus, not soap-opera, saved from being the latter by its incandescence    I welcome this book's complexities: solutions are struggled for in a way which not only illuminates but makes the reader think and feel 

External links
Vida on Marge Piercy's website
Passage 5:
Marge Piercy
Marge Piercy (born March 31, 1936) is an American progressive activist, feminist, and writer  Her work includes Woman on the Edge of Time; He, She and It, which won the 1993 Arthur C  Clarke Award; and Gone to Soldiers, a New York Times Best Seller and a sweeping historical novel set during World War II  Piercy's work is rooted in her Jewish heritage, Communist social and political activism, and feminist ideals 

Life
Family and early life
Marge Piercy was born in Detroit, Michigan to Bert (Bunnin) Piercy and Robert Piercy  While her father was non-religious from a Presbyterian background, she was raised Jewish by her mother and her Orthodox Jewish maternal grandmother, who gave Piercy the Hebrew name of Marah On her childhood and Jewish identity, Piercy said: "Jews and blacks were always lumped together when I grew up  I didn’t grow up 'white ' Jews weren't white  My first boyfriend was black  I didn't find out I was white until we spent time in Baltimore and I went to a segregated high school  I can't express how weird it was  Then I just figured they didn't know I was Jewish "An indifferent student in her early childhood, Piercy developed a love of books when she came down with the German measles and rheumatic fever in her mid-childhood and could do little but read  "It taught me that there's a different world there, that there were all these horizons that were quite different from what I could see" 

Education
Upon graduation from Mackenzie High School, Piercy became the first in her family to attend college, studying at the University of Michigan where she received a B A  degree in 1957  Winning a Hopwood Award for Poetry and Fiction (1957) enabled her to finish college and spend some time in France  She earned an M A  from Northwestern University in 1958 

Adulthood
After graduating college, Piercy and her first husband went to France, then returned to the United States  They divorced when Piercy was 23  Living in Chicago, she supported herself working various part-time jobs while unsuccessfully trying to get her novels published  It was during this time that Piercy realized she wanted to write fiction that focused on politics, feminism, and working-class people  After her second marriage, Piercy became involved in the organization Students for a Democratic Society  In 1968, Piercy's first book of poetry, Breaking Camp, was published, and her first novel was accepted for publication that same year 

Personal life and relationships
At a young age Marge Piercy was married to her first husband, a French Jewish physicist  However, the marriage failed when she was 23; Piercy attributes this to his expectations of gender roles in marriage  In 1962 she married her second husband, Robert Shapiro, a computer scientist  They divorced, and Piercy married her current husband, Ira Wood  She and her husband live in Wellfleet, MA  Piercy designed their home, where the couple have been living since the 1970s 

Politics
Piercy was involved in the civil rights movement, New Left, and Students for a Democratic Society  She is a feminist, environmentalist, Marxist, social, and anti-war activist In 1977, Piercy became an associate of the Women's Institute for Freedom of the Press (WIFP), an American nonprofit publishing organization that works to increase communication between women and connect the public with forms of women-based media 
In 2013, Piercy signed an open letter, described as an "open statement from 48 radical feminists from seven countries " The letter endorses TERF ideology and defends the right to exclude transgender women from "women-only conferences "

Writing
Piercy is the author of more than seventeen volumes of poems, among them The Moon Is Always Female (1980, considered a feminist classic) and The Art of Blessing the Day (1999)  She has published fifteen novels, one play (The Last White Class, co-authored with her current—and third—husband Ira Wood), one collection of essays (Parti-colored Blocks for a Quilt), one non-fiction book, and one memoir  She contributed the pieces "The Grand Coolie Damn" and "Song of the Fucked Duck" to the celebrated anthology Sisterhood Is Powerful: An Anthology of Writings from The Women's Liberation Movement, edited by Robin Morgan Her novels and poetry often focus on feminist or social concerns, although her settings vary  While Body of Glass (published in the United States as He, She and It) is a science fiction novel that won the Arthur C  Clarke Award, City of Darkness, City of Light was set during the French Revolution  Other novels, such as Summer People and The Longings of Women are set during modern times  All of her books share a focus on women's lives 
Woman on the Edge of Time (1976) mixes a time travel story with issues of social justice, feminism, and the treatment of the mentally ill  This novel is considered a classic of utopian "speculative" science fiction as well as a feminist classic  William Gibson has credited Woman on the Edge of Time as the birthplace of Cyberpunk, as Piercy mentions in an introduction to Body of Glass  Body of Glass (He, She and It, 1991) itself postulates an environmentally ruined world dominated by sprawling mega-cities and a futuristic version of the Internet, through which Piercy weaves elements of Jewish mysticism and the legend of the Golem, although a key story element is the main character's attempts to regain custody of her young son 
Many of Piercy's novels tell their stories from the viewpoints of multiple characters, often including a first-person voice among numerous third-person narratives  Her World War II historical novel, Gone to Soldiers (1987) follows the lives of nine major characters in the United States, Europe and Asia  The first-person account in Gone to Soldiers is the diary of French teenager Jacqueline Levy-Monot, who is also followed in the third person after her capture by the Nazis Piercy's poetry tends to be highly personal free verse and often centered on feminist and social issues  Her work shows commitment to social change—what she might call, in Judaic terms, tikkun olam, or the repair of the world  It is rooted in story, the wheel of the Jewish year, and a range of landscapes and settings 
Piercy contributed poems to the journal Kalliope: A Journal of Women's Art and Literature  Piercy also contributed to the collection of essays by women leaders in the climate movement, All We Can Save 

Works
Novels
Going Down Fast, 1969
Dance The Eagle To Sleep, 1970
Small Changes, 1973
Woman on the Edge of Time, 1976
The High Cost of Living, 1978
Vida, 1979
Braided Lives, 1982
Fly Away Home, 1985
Gone To Soldiers, 1987
Summer People, 1989
He, She And It (aka Body of Glass), 1991
The Longings of Women, 1994
City of Darkness, City of Light, 1996
Storm Tide, 1998 (with Ira Wood)
Three Women, 1999
The Third Child, 2003
Sex Wars, 2005

Short stories
The Cost of Lunch, Etc , 2014

Poetry collections
Breaking Camp, 1968
Hard Loving, 1969
"Barbie Doll", 1973
4-Telling (with Emmett Jarrett, Dick Lourie, Robert Hershon), 1971
To Be of Use, 1973
Living in the Open, 1976
The Twelve-Spoked Wheel Flashing, 1978
The Moon is Always Female, 1980
Circles on the Water, Selected Poems, 1982
Stone, Paper, Knife, 1983
My Mother's Body, 1985
Available Light, 1988
Early Ripening: American Women's Poetry Now (ed ), 1988; 1993
Mars and her Children, 1992
What are Big Girls Made Of, 1997
Early Grrrl, 1999 
The Art of Blessing the Day: Poems With a Jewish Theme, 1999
Colours Passing Through Us, 2003
The Hunger Moon: New and Selected Poems, 1980-2010, 2012
Made in Detroit, 2015
On the Way Out, Turn Off the Light, 2020

Collected other
"The Grand Coolie Damn" and "Song of the fucked duck" in Sisterhood is Powerful: An Anthology of Writings From The Women's Liberation Movement, 1970, edited by Robin Morgan
The Last White Class, (play co-authored with Ira Wood), 1979
Parti-Colored Blocks For a Quilt, (essays), 1982
The Earth Shines Secretly: A book of Days, (daybook calendar), 1990
So You Want to Write, (non-fiction), 2001
Sleeping with Cats, (memoir), 2002
My Life, My Body (Outspoken Authors), (essays, poems & memoir), 2015

Awards and honors
Arthur C  Clarke Award for science fiction, 1992
Bradley Award, New England Poetry Club, 1992
Brit ha-Dorot Award, Shalom Center, 1992
May Sarton Award, New England Poetry Club, 1991
Golden Rose Poetry Prize, New England Poetry Club, 1990
Carolyn Kizer Poetry Prize, 1986, 1990
National Endowment for the Arts award, 1978
Honorary Doctor of Humane Letters degree from the Hebrew Union College, Cincinnati, Ohio, 2004
Passage 6:
Richard Aldington
Richard Aldington (born Edward Godfree Aldington; 8 July 1892 – 27 July 1962) was an English writer and poet  He was an early associate of the Imagist movement  He was married to the poet Hilda Doolittle (H  D ) from 1911 to 1938  His 50-year writing career covered poetry, novels, criticism and biography  He edited The Egoist, a literary journal, and wrote for The Times Literary Supplement, Vogue, The Criterion and Poetry  His biography of Wellington (1946) won him the James Tait Black Memorial Prize  His contacts included writers T  S  Eliot, D  H  Lawrence, Ezra Pound, W  B  Yeats, Lawrence Durrell, C  P  Snow, and others  He championed Hilda Doolittle as the major poetic voice of the Imagist movement and helped her work gain international notice 

Early life and marriage
Aldington was born in Portsmouth, the eldest of four children and the son of a solicitor  Both his parents wrote and published books, and their home held a large library of European and classical literature  As well as reading, Aldington's interests at this time, all of which continued in later life, included butterfly-collecting, hiking, and learning languages – he went on to master French, Italian, Latin, and ancient Greek  He was educated at Mr  Sweetman's Seminary for Young Gentlemen, St Margaret's Bay, near Dover  His father died of heart problems at age 56 Aldington attended Dover College, followed by the University of London  He was unable to complete his degree because of the financial circumstances of his family caused by his father's failed speculations and ensuing debt  Supported by a small allowance from his parents, he worked as a sports journalist, started publishing poetry in British journals, and gravitated towards literary circles that included poets William Butler Yeats and Walter de la Mare In 1911 Aldington met society hostess Brigit Patmore, with whom he had a passing affair  At the time he was described as "tall and broad-shouldered, with a fine forehead, thick longish hair of the indefinite colour blond hair turns to in adolescence, very bright blue eyes, too small a nose, and a determined mouth " Through her he met American poets Ezra Pound and Hilda Doolittle, who had previously been engaged to each other  Doolittle and Aldington grew closer and in 1913 travelled together extensively through Italy and France, just before the war  On their return to London in the summer they moved into separate flats in Churchwalk, Kensington, in West London  Doolittle lived at No  6, Aldington at No  8, and Pound at No  10  In the presence of Pound and the Doolittle family, over from America for the summer, the couple married  They moved to 5 Holland Place Chambers into a flat of their own, although Pound soon moved in across the hall The poets were caught up in the literary ferment before the war, where new politics and ideas were passionately discussed and created in Soho tearooms and society salons  The couple bonded over their visions of new forms of poetry, feminism, and philosophy, emerging from the wake of staid Victorian mores  The couple were fed by a sense of peership and mutualism between them, rejecting hierarchies, beginning to view Pound as an intruder and interloper rather than a literary igniter The couple met influential American poet Amy Lowell and she introduced them to writer D  H  Lawrence in 1914, who would become a close friend and mentor to both 

Early career
Aldington's poetry was associated with the Imagist group, championing minimalist free verse with stark images, seeking to banish Victorian moralism  The group was key in the emerging Modernist movement  Ezra Pound coined the term imagistes for H  D  and Aldington (1912)  Aldington's poetry forms almost one third of the Imagists' inaugural anthology Des Imagistes (1914)  The movement was heavily inspired by Japanese and classical European art  Aldington shared T  E  Hulme's conviction that experimentation with traditional Japanese verse forms could provide a way forward for avant-garde literature in English 

Pound sent three of Aldington's poems to Harriet Monroe's magazine Poetry and they appeared in November 1912  She notes "Mr Richard Aldington is a young English poet, one of the "Imagistes", a group of ardent Hellenists who are pursuing interesting experiments in vers libre "She considered the poem "Choricos" to be his finest work, "one of the most beautiful death songs in the language" "a poem of studied and affected gravity" H D  became pregnant in August 1914, and in 1915 Aldington and H D  relocated from their home in Holland Park near Ezra Pound to Hampstead close to D  H  Lawrence and Frieda  They felt calmer out of the bustle of the city, with more space and green  The pregnancy ended in a stillborn daughter, which traumatised the couple and put a great strain on the relationship; H D  was 28 and Aldington 22  The outbreak of war in 1914 deeply disturbed Aldington, though no draft was in place at this time  H D  felt more distant from the melee, not having a close affinity to the European landscape, geographical or political  This rift also put pressure on the marriage  Unhappy, Aldington dreamed of escape to America and began to have affairs  He began a relationship with Florence Fallas, who had also lost a child Between 1914 and 1916 Aldington was literary editor and a columnist at The Egoist  He was assistant editor with Leonard Compton-Rickett under Dora Marsden  Aldington knew Wyndham Lewis well and reviewed his work in The Egoist  He was also an associate of Ford Madox Ford's, helping him with a propaganda volume for a government commission in 1914 and taking dictation for The Good Soldier 

First World War and aftermath
Aldington joined up in June 1916 and was sent for training at Wareham in Dorset  H D  moved to be closer to her husband  He then was sent to a camp near Manchester  They found the duality of their lives harsh, and the gruelling, regimented nature of the training felt hard for the sensitive professional poet  He felt fundamentally different from the other men, more given to intellectual pursuits than unending physical labour that left him little time to write  Their sporadic meetings were emotionally wrenching and the couple could make no plans for their future together  He encouraged H D  to return to America where she could make a safer and more stable home  They both watched news come in of heavy troop losses in France at the Somme and on other battlefields  She could not have information given on her husband's future postings overseas, all held to be secret  Rationing and the forced draft began as the war turned against the British When Aldington was sent to the front in December 1916, the couple's relationship became epistolary  He wrote that he'd managed to complete 12 poems and three essays since joining up and wanted to work on producing a new book, in order to keep his mind on literature, despite his work of digging graves  He found the soldier's life degrading, living with lice, cold, mud and little sanitation  His encounters with gas on the front would affect him for the rest of his life  He was given leave in July 1917 and the couple enjoyed a reunion during this brief reprieve  He felt distant from old Imagist friends like Pound who had not undergone the tortuous life of the soldiers on the front and could not imagine the living conditions Aldington joined up in the 11th Leicestershires and was later commissioned as a second lieutenant in the Royal Sussex Regiment (November 1917)  He finished the war as a signals officer and temporary captain, being demobilised in February 1919  He may never have completely recovered from the war, writing of his own field experiences in the collections Images of War and Images of Desire (1919), which were suffused with a new melancholy  He ended the war feeling disconsolate about his own talent as a poet  Exile and Other Poems (1923) also dealt with the process of trauma  A collection of war stories Roads to Glory, appeared in 1930  After this point he became known as a critic and biographer Towards the end of the war H D  lived with composer Cecil Gray, a friend of D  H  Lawrence's  They had a daughter together in March 1919, the pregnancy much complicated by H D 's catching pneumonia towards the end  Neither Gray nor Aldington wanted to accept paternity  By the time of Aldington's return H D  was involved with the female writer Bryher  H D  and Aldington formally separated and had relationships with other people, but they didn't divorce until 1938  They remained friends for the rest of their lives  He destroyed all the couple's pre-1918 correspondence Aldington helped T  S  Eliot by persuading Harriet Shaw Weaver to appoint Eliot as Aldington's successor at The Egoist magazine  In 1919 he introduced Eliot to the editor Bruce Richmond of The Times Literary Supplement  Aldington was on the editorial board of Chaman Lall's London literary quarterly Coterie (published 1919–1921), accompanied by Conrad Aiken, Eliot, Lewis and Aldous Huxley  Eliot had a job in the international department of Lloyds Bank and well-meaning friends wanted him full-time writing poetry  Ezra Pound, plotting a scheme to "get Eliot out of the bank", was supported by Lady Ottoline Morrell, Leonard Woolf and Harry Norton Aldington began publishing in journals such as the Imagist The Chapbook  In reply to Eliot's The Waste Land, Aldington wrote A Fool i' the Forest (1924) 

Aldington suffered a breakdown in 1925  His interest in poetry waned, and he developed an animosity towards Eliot's celebrity  Aldington grew closer to Eliot but gradually became a supporter of Vivienne Eliot in the troubled marriage  Aldington satirised her husband as "Jeremy Cibber" in Stepping Heavenward (1931)  He had a relationship with writer Valentine Dobrée and a lengthy and passionate affair with Arabella Yorke, a lover since Mecklenburgh Square days, coming to an end when he went abroad Aldington helped Irene Rathbone publish her semi-autobiographical novel We That Were Young in 1932  They had an affair that ended in 1937  Rathbone dedicated her 1936 novel They Call it Peace to him, and she wrote a long poem, Was There a Summer?: A Narrative Poem, in 1943 about their relationship 

Exile
Aldington went into self-imposed exile in 1928  He lived in Paris for years, living with Brigit Patmore and fascinated by Nancy Cunard, whom he met in 1928  Following his divorce in 1938 he married Netta, née McCullough, previously Brigit's daughter-in-law 
Death of a Hero (1929), which Aldington called a "jazz novel," was his semi-autobiographical response to the war  He started writing it almost immediately after the armistice was declared  The novel condemned Victorian materialism as a cause of the tragedy and waste of the war  Rejectionist, an "Expressionist scream", it was commended by Lawrence Durrell as "the best war novel of the epoch"  It was developed mostly while Aldington was living on the island of Port-Cros in Provence, building on the manuscript from a decade before  Opening with a letter to the playwright Halcott Glover, the book takes a satirical, cynical, and critical stance on Victorian and Edwardian cant  Published in September 1929, by Christmas it had sold more than 10,000 copies in England alone, part of a wave of war remembrances from writers such as Remarque, Sassoon, and Hemingway  The book was quickly translated into German and other European languages  In Russia the book was taken to be a wholesale attack on bourgeois politics, "the inevitable result of the life which had preceded it", as Aldington wrote  "The next one will be much worse"  It was praised by Gorky as revolutionary, and the book, along with Aldington's later fiction, received huge Russian distribution  Aldington was, however, fiercely non-partisan in his politics, despite his passion for iconoclasm and feminism The character of George Winterbourne is loosely based on Aldington as an artist (Winterbourne a painter rather than writer), having a mistress before and through the war, and the novel portrays locations strongly resembling those he had travelled to  One of these locations, fictionally named "The Chateau de Fressin," strongly resembled a castle he wrote about in a letter to H  D Death of a Hero, like many other novels published around this time about the war, suffered greatly from censorship  Instead of changing or cutting parts of his novel, he replaced objectionable words with asterisks  Although they looked awkward on the page, Aldington, among others, wanted to call attention to censoring by publishers In 1930 Aldington published a translation of The Decameron and then the romance All Men are Enemies (1933)  In 1942, having relocated to the United States with his new wife Netta, he began to write biographies, starting with Wellington: The Duke: Being an Account of the Life & Achievements of Arthur Wellesley, 1st Duke of Wellington (1943)  It was followed by works on D  H  Lawrence: Portrait of a Genius, But     (1950), Robert Louis Stevenson: Portrait of a Rebel (1957), and T  E  Lawrence: Lawrence of Arabia: A Biographical Inquiry (1955)  Under financial pressure, he also worked as a Hollywood screenwriter 
Aldington's excoriating biography of T  E  Lawrence caused a scandal on its publication in 1955  In the spirit of iconoclasm, he was the first to bring public notice to Lawrence's illegitimacy and asserted that he was a homosexual, a liar, a charlatan, an "impudent mythomaniac", a "self-important egotist", a poor writer and even a bad motorcyclist  The biography dramatically coloured popular opinion of Lawrence  Foreign and War Office files concerning Lawrence's career were released during the 1960s and further biographies continued to analyse the 'British hero'  There was speculation that Aldington's spite was driven by jealousy and a sense of exclusion by the British establishment  Lawrence had attended Oxford, and his father was a baronet; Aldington suffered in the bloodbath of Europe during the First World War while Lawrence gained a heroic reputation in the Middle Eastern theatre and became an international celebrity, a homosexual icon, as Aldington saw it  Robert Graves noted in a review of the book, "instead of a carefully considered portrait of Lawrence, I find the self-portrait of a bitter, bedridden, leering, asthmatic, elderly hangman-of-letters "

Last years
Aldington lived in Sury-en-Vaux, Cher, France, from 1958  His last significant book was a biography of the Provençal poet and winner of the Nobel Prize in Literature, Frédéric Mistral (1956) Aldington died in Sury on 27 July 1962, shortly after being honoured in Moscow on the occasion of his seventieth birthday and the publication of some of his novels in Russian translation  He was fêted in the USSR, "even if some of the fêting was probably because he had, in his writings, sometimes suggested that the England he loved could, in certain of its aspects, be less than an earthly paradise " He is buried in the local cemetery in Sury  He left one daughter, Catherine, the child of his second marriage; she died in 2010 

Legacy
On 11 November 1985 Aldington was among 16 Great War poets commemorated in stone at Westminster Abbey's Poet's Corner  The inscription on the stone is a quotation from the work of a fellow Great War poet, Wilfred Owen  It reads: "My subject is War, and the pity of War  The Poetry is in the pity "

Style and bitterness
Alec Waugh described Aldington as having been embittered by the war, but took it that he worked off his spleen in novels like The Colonel's Daughter (1931) rather than letting it poison his life  Douglas Bush describes his work as "a career of disillusioned bitterness " His novels contained thinly veiled portraits of some of his friends, including Eliot, Lawrence and Pound; the friendship not always surviving  Lyndall Gordon characterises the sketch of Eliot in Aldington's memoirs Life for Life's Sake (1941) as "snide " As a young man, he was cutting about Yeats, but they remained on good terms 
Aldington's obituary in The Times of London in 1962 described him as "[a]n angry young man of the generation before they became fashionable     who remained something of an angry old man to the end" 

Works
Images (1910–1915) (The Poetry Bookshop, London, 1915) & (historical reproduction by Bibliobazaar ISBN 978-1-113-27518-9) 2009
Images Old and New (Four Seas Co , Boston, 1916) & (historical reproduction by Bibliobazaar ISBN 978-1-113-39283-1) 2009
The Poems of Anyte of Tegea (1916) translator
The Little Demon, by Feodor Sologub, authorised translation by John Cournos and Richard Aldington (London: Martin Secker, 1916) 
Images of Desire (Elkin Mathews, 1919) & (historical reproduction by Bibliobazaar) ISBN 978-1-115-45071-3) 2009
Images of War, A Book of Poems (Beaumont Press, London, 1919) & (historical reproduction by Bibliobazaar) ISBN 978-1-171-58428-5) 2009
War and Love: Poems 1915–1918 (1919)
Greek Songs in the Manner of Anacreon (1919) translator
Hymen (Egoist Press, 1921) with H D 
Medallions in Clay (1921)
The Good-Humoured Ladies: A Comedy by Carlo Goldoni (1922) translator, with Arthur Symons
Exile and Other Poems (1923)
Literary Studies and Reviews (1924) essays
Sturly, by Pierre Custot (1924) translator
The Mystery of the Nativity: Translated from the Liegeois of the XVth Century (Medici Society, 1924) translator
A Fool i' the Forest: A Phantasmagoria (1924) poem
A Book of 'Characters' from Theophrastus, Joseph Hall, Sir Thomas Overbury, Nicolas Breton, John Earle, Thomas Fuller, and Other English Authors; Jean de La Bruyère, Vauvenargues, and Other French Authors, compiled and translated by Richard Aldington, with an introduction and notes (1924)
Voltaire (1925)
French Studies and Reviews (1926)
The Love of Myrrhine and Konallis: and other prose poems (1926)
Cyrano De Bergerac, Voyages to the Moon and the Sun (1927) translator
D H  Lawrence: An Indiscretion (1927) (34-page pamphlet)
Letters of Madame de Sévigné to Her Daughter and Her Friends, selected, with an introductory essay, by Richard Aldington (1927) translator
Letters of Voltaire and Frederick the Great (1927) translator
Candide and Other Romances by Voltaire (1928) translator with Norman Tealby
Collected Poems (1928)
Fifty Romance Lyric Poems (1928) translator
Hark the Herald (Hours Press, 1928)
Remy de Gourmont: Selections From All His Works Chosen and Translated by Richard Aldington (1928)
Remy de Gourmont: A Modern Man of Letters (1928)
The Treason of the Intellectuals (La Trahison des Clercs), by Julien Benda (1928) translator
Death of a Hero: A Novel (1929)
The Eaten Heart (Hours Press, 1929) poems
A Dream in the Luxembourg: A Poem (1930)
Euripides' Alcestis (1930) translator
At All Costs (William Heinemann, Ltd , 1930) 45-page story
D H  Lawrence (1930) (43-page pamphlet; its contents are identical to D H  Lawrence: An Indiscretion (1927), except for the dropping of the subtitle and the addition of a one-paragraph note following the title page )
Last Straws (Hours Press, 1930)
Medallions from Anyte of Tegea, Meleager of Gadara, the Anacreontea, Latin Poets of the Renaissance (1930) translator
The Memoirs of Marmontel (1930) editor, with Brigit Patmore
Roads to Glory (1930) stories
Tales from the Decameron (1930) translator
Two Stories (Elkin Mathews, 1930): "Deserter" and "The Lads of the Village"
Letters to the Amazon, by Remy de Gourmont (1931) translator
Balls and Another Book for Suppression (1931) (13 pages)
The Colonel's Daughter: A Novel (1931)
Stepping Heavenward: A Record (1931) satire aimed at T  S  Eliot
Aurelia by Gérard de Nerval (1932) translator
Soft Answers (1932) five short novels
All Men Are Enemies: A Romance (1933)
Last Poems of D H  Lawrence (1933) edited with Giuseppe Orioli
Poems of Richard Aldington (1934)
Women Must Work: A Novel (1934)
Artifex: Sketches and Ideas (1935) essays
D H  Lawrence: A complete list of his works, together with a critical appreciation by Richard Aldington (1935) (22-page pamphlet)
The Spirit of Place (1935), editor, D H  Lawrence prose anthology
Life Quest (1935) poem
Life of a Lady: A Play in Three Acts (1936) with Derek Patmore
The Crystal World (1937)
Very Heaven (1937)
Seven Against Reeves: A Comedy-Farce (1938) novel
Rejected Guest (1939) novel
W  Somerset Maugham: An Appreciation (1939)
Life for Life's Sake: A Book of Reminiscences (1941)
Poetry of the English-Speaking World (1941) anthology, editor
The Duke: Being an account of the life & achievements of Arthur Wellesley, 1st Duke of Wellington (1943)  Later edition: Wellington: Being an account of the life & achievements of Arthur Wellesley, 1st Duke of Wellington (1946) 
A Wreath for San Gemignano (1945) with illustrations by Netta Aldington and sonnets of Folgóre da San Gimignano titled The Garland of Months and translated by Richard Aldington
Great French Romances (1946) novels by Madame de La Fayette, Choderlos De Laclos, Abbé Prévost, Honoré de Balzac
Oscar Wilde: Selected Works (1946) editor
The Romance of Casanova: A Novel (1946)
Complete Poems (1948)
Four English Portraits, 1801–1851 (1948) (The four are the Prince Regent, the young Disraeli, Charles "Squire" Waterton, and the young Dickens )
Selected Works of Walter Pater (1948)
Jane Austen (1948)
Decameron of Giovanni Boccaccio (two volumes) (1949) translator
The Strange Life of Charles Waterton, 1782–1865 (1949)
A Bibliography of the Works of Richard Aldington from 1915 to 1948 (1950) with Alister Kershaw
Selected Letters of D H  Lawrence (1950) editor
The Indispensable Oscar Wilde (1950) editor
Portrait of a Genius, But       (The Life of D H  Lawrence, 1885–1930) (1950)
D H  Lawrence: An Appreciation (1950) (32-page pamphlet, which borrows from the 1927, 1930, and 1935 pamphlets on Lawrence listed above)
The Religion of Beauty: Selections from the Aesthetes (1950) anthology, editor
Ezra Pound and T  S  Eliot: A Lecture (Peacocks Press, 1954) (22 pages)
Lawrence L'imposteur: T  E  Lawrence, the Legend and the Man (1954) Paris edition; also published as Lawrence of Arabia: A Biographical Enquiry (1955)
Pinorman: Personal Recollections of Norman Douglas, Pino Orioli and Charles Prentice (1954)
A  E  Housman and W  B  Yeats: Two Lectures (Hurst Press, 1955)
Introduction to Mistral (1956) (biography of French poet Frédéric Mistral)
Frauds (1957)
Portrait of a Rebel: The Life and Work of Robert Louis Stevenson (1957)
The Viking Book of Poetry of the English-Speaking World, Volume II (1958) editor
"The Composite Biography as Biography," in Moore, Harry T , ed , A D H  Lawrence Miscellany, Southern Illinois University Press (1959) and William Heinemann Ltd (1961), pp  143-152  "[This] essay serves as the Introduction of Vol  3 of Edward Nehls's D H  Lawrence: A Composite Biography, copyright, 1959, by the University of Wisconsin Press   ," p  143 n 
Larousse Encyclopedia of Mythology (1960) translator with Delano Ames
Switzerland (1960)
Famous Cities of the World: Rome (1960)
A Tourist's Rome (1961)
Richard Aldington: Selected Critical Writing, 1928–1960 (1970) edited by Alister Kershaw  Contains chapters on ten writers: Remy de Gourmont, Aldous Huxley, Wyndham Lewis, Somerset Maugham, Oscar Wilde, Walter Pater, Jane Austen, Roy Campbell, Lawrence Durrell, and D  H  Lawrence 
A Passionate Prodigality: Letters to Alan Bird from Richard Aldington, 1949–1962 (1975) edited by Miriam J  Benkovitz
Literary Lifelines: The Richard Aldington and Lawrence Durrell Correspondence (1981)
In Winter: A Poem (Typographeum Press, 1987)
Austria/L'Autriche/Österreich: A Book of Photographs, with an introduction by Richard Aldington  London: Anglo-Italian Publication, [1950-1960?]
France/La France/Frankreich: A Book of Photographs, with an introduction by Richard Aldington  London: Anglo-Italian Publications, [1950-1965?]
Italy/L'Italie/Italien: A Book of Photographs, with an introduction by Richard Aldington  London: Anglo-Italian Publications, [1958?]
Passage 7:
Ivan Coyote
Ivan E  Coyote (born August 11, 1969) is a Canadian spoken word performer, writer, and LGBT advocate  Coyote has won many accolades for their collections of short stories, novels, and films  They also visit schools to tell stories and give writing workshops  The CBC has called Coyote a "gender-bending author who loves telling stories and performing in front of a live audience " Coyote is non-binary and uses singular they pronouns  Many of Coyote's stories are about gender, identity, and social justice  Coyote currently resides in Vancouver, British Columbia 

Career
Coyote started performing spoken word in 1992, and their work deals with contemporary issues of family, class gender, identity and social justice  In 1996, Coyote co-founded the queer performance group Taste This with Anna Camilleri, Zoe Eakle, and Lyndell Montgomery  Taste This was a multi-genre performance that incorporated live music, poetry and story-telling  The group disbanded in 2000  In 2001, Coyote briefly taught short fiction at Capilano University in North Vancouver  In 2010, Coyote, Camilleri and Montgomery regrouped as Swell, and premiered at the 2010 Vancouver Pride in Art Festival They joined Arsenal Pulp Press in 2000 and have published 10 books with them  Coyote regularly combines storytelling and music and has worked with a number of musicians including Veda Hille, Dan Mangan and Rae Spoon  Coyote has been a columnist for the LGBTQ+ magazines Xtra! and Xtra! West  and regularly contributes to The Georgia Straight and CBC Radio Coyote has been writer-in-residence for Carleton University in 2007, Vancouver Public Library in 2009, the University of Winnipeg in 2011, and the University of Western Ontario in 2012  They also served on the jury of the 2012 Dayne Ogilvie Prize, a literary award for emerging LGBT writers in Canada, selecting Amber Dawn as that year's winner In 2009, their performanceYou Are Here was scheduled for a cabaret run at Hysteria: A Festival of Women at Buddies in Bad Times Theatre, but was cancelled in January of that year In 2008 they performed spoken word at Montreal's Edgy Women festival and taught a writing workshop In 2012, Coyote and Spoon collaborated on Gender Failure, a touring multimedia show in which they performed music and spoken word pieces about their failed attempts at fitting into the gender binary  A performance of Gender Failure, as performed at the 27th London Lesbian & Gay Film Festival, is also available on YouTube  A book based on the show was published by Arsenal Pulp Press in 2014 On November 14, 2015 Coyote did a TED talk in Vancouver entitled "We all need a safe place to pee," where they discuss the need to have gender neutral bathrooms in all public places In 2016, they delivered the Florence Bird Lecture at Carleton University  Their lecture was titled "Neither, Nor: How to Circumnavigate the Gender Binary in Seven Thousand Easy Steps" In 2020, Coyote performed as part of CBC Gem's Queer Pride Inside special 

Writing
Coyote has written eleven books: one with Press Gang Publishers and ten with Arsenal Pulp Press  Common themes in their work involve identity, gender, community, and class 
Coyote's first book, Boys Like Her (Press Gang Publishers, 1998), was adapted from a live show that was performed by their theater troop, Taste This Close to Spiderman (Arsenal Pulp Press, 2000) and One Man's Trash (Arsenal Pulp Press, 2002) are both collections of stories told by Coyote's grandmother and written by Coyote Missed Her (Arsenal Pulp Press, 2010) is another book of compiled short stories  The works were first published in columns with Xtra Vancouver One in Every Crowd (Arsenal Pulp Press, 2012) is an anthology of Coyote's work that was put together by the request of high school teachers and librarians who wanted to share Coyote's writing with students  Without more mature parts of their writing, their works could be accepted by school administration and parents  It was specifically composed for queer youth Tomboy Survival Guide (Arsenal Pulp Press, 2016), has won the Stonewall Book Award Honor—an award given to outstanding LGBT literature—and has been long-listed for the BC National Award for Canadian Non-Fiction in 2017 Rebent Sinner (Arsenal Pulp Press, 2019) is a collection of stories and personal essays that has been favourably received  Coyote toured in 2019 with musician Sarah MacDougall, performing selections from the book along with music Care Of (Penguin Random House, 2021) is a collection of communications Coyote has received from audience members and the responses they have written in return 

Reception
Coyote has made significant contributions to the representation of queerness in Canadian literature  Their first collection of short stories, Close to Spider Man, was a finalist for the Danuta Gleed Literary Award for short fiction, and it received widespread acclaim across the Canadian critical community for its semi-autobiographical depiction of young, queer women growing up in the Yukon  Although their short stories received no awards recognition until their collection The Slow Fix was shortlisted for the Lambda Literary Award in 2008, and their collections One Man's Trash and Loose End received similar recognition as their debut, with outlets such as Herizons and the Lambda Book Report which praised the brevity and directness of Coyote's writing as it relates to depictions of the complexities of gender, sexuality, and identity Bow Grip, Coyote's only full-length novel, was the winner of the 2007 ReLit Award for Best Fiction and the Stonewall Honor Book Award, as well as being shortlisted for the Ferro Grumley Award  Their 2016 autobiography Tomboy Survival Guide also garnered numerous accolades, having been long-listed for the British Columbia's National Award for Canadian Non-Fiction and winning the 2017 Stonewall Book Award 

Bibliography
Passage 8:
Going Down Fast
Going Down Fast (ISBN 0-449-24480-6) is a 1969 novel by Marge Piercy  It tells the story of Anna, a woman living with multiple losses; Rowley, a blue-eyed soul singer; Leon, an underground film-maker; and Caroline, a woman with a dark secret  They all live in an area of an unnamed city where a swathe of blocks are being demolished to make way for a university 

Reception
A New York Times book review said that "Piercy burns anger and conviction" 

External links
"Marge Piercy Papers (1958-2004, bulk 1966-2003) " University of Michigan 
"Piercy, Marge 1936- " Encyclopedia com 
Passage 9:
Barbie Doll (poem)
"Barbie Doll" is a narrative poem written by American writer, novelist, and social activist Marge Piercy  It was published in 1971, during the time of second-wave feminism  It is often noted for its message of how a patriarchal society puts expectations and pressures on women, partly through gender role stereotyping  It tells a story about a girl who dies trying to meet the unrealistic expectations that society holds for her  It starts off talking about a little girl, and then continues chronologically through the girl’s life  Using strong diction, purposeful syntax, and various rhetorical devices, the poem hits on prominent feminist issues such as gender stereotypes, sexism, and the effect of a patriarchal society 

Background
Marge Piercy wrote this poem during an era of second wave feminism, a time in which women were concerned about sexuality, family, and the workplace  The poem expresses the stereotypes, sexism, and patriarchal influences that women were submitted to during the 1960s  Not only were women subjected to poor treatment because of their gender, women also experienced discrimination and unequal treatment because of their race  While this poem discusses the topic of gender and gender stereotypes, it is important to recognize that the development of the doll that inspired the poem has brought up the racial discrepancies woman faced during this time  According to Elizabeth Chin, “These toys were designed and marketed specifically to reshape a territory dominated by an assumption of whiteness, but paradoxically, they have integrated the toy world while at the same time fixing racial boundaries more firmly   Although not addressed in this poem, the racial discrepancies that arose after the creation of the Barbie Doll, such as "hair type, facial features, and skin color” have been addressed throughout the years  Therefore, the purpose of the poem was to display the struggle women faced because of these societal issues in hopes of changing them  The poem shows the idealist view that is created by the appearance of the doll that causes people to question social norms and expectations that seem to exist in society 

Analysis
First stanza
The first stanza begins with a girl being born, fitting perfectly into a mold provided by the society she was born into  The stanza lists toys that any little girl might play with, such as dolls and miniature GE stoves and irons  She was also given lipstick, compared to cherry candy using a metaphor  
 In a patriarchal society, women hold the positions of cooking and cleaning in the household  This, along with the makeup she was given, shows that from a very young age this girl was taught to conform to a specific gender stereotype, without even realizing it  The doll is also an important part of this stanza, as well as the entire poem  The Barbie Doll has been a cultural icon since it was created in 1959, a little over 10 years before this poem was published  It is somewhat controversial whether it is viewed as a “role model for young girls, an icon of American culture, and a model of aesthetic perfection” or on the other hand “a tool of racism, classism, and sexism, and disparaged as a contemporary epitomization of the cult of thinness ”   In the context of this poem, the Barbie Doll ends up being a negative aspect of the girl’s life, creating a poor self-body image among other problems  
  At the end of this stanza, the girl goes through puberty  Someone in the girl’s class commented negative things about her body, saying she had a large nose and fat thighs  This is the point in the poem at which her insecurities have been grounded  Throughout the rest of the poem, she grows up striving to meet unattainable societal standards that her Barbie doll  represents 

Second stanza
The next stanza talks about the girl in terms of what attributes she held, but also how she and society did not see them  She was described as healthy, smart, strong, sexually able, and fast, yet she did not see any of these things  According to Robert Perrin, Barbie is described using "robust terms" throughout this stanza; however, she immediately apologizes for her positive attributes as if she was not good enough in the eyes of society   She had learned from the time when she was a just a child that she had imperfections and was not good enough  She compared herself to her doll, and therefore apologized to society for her imperfections  She did not see the good in herself, only the comparison between what she was and what society says she should be  In this stanza, her qualities are listed one after another, which is then followed by her disapproval  This syntax helps the reader see all of the good aspects of the girl all at once, which then makes the reader question why the girl does not see them  The stanza finishes with saying everyone, meaning society, only sees her for her fat nose and thick legs, the same thing she was told by her classmate when she was a child 

Third stanza
The third stanza talks about the sexist expectations that patriarchal society has placed upon her  As a girl, “she was advised to play coy, exhorted to come on hearty, exercise, diet, smile and wheedle ” 
  This list shows the expectations that are placed upon women in society  The patriarchal power within the society is what is responsible for the belief of certain “standards” of women  Women are expected to play nice, come across as good girls, be skinny, eat little, and be happy all of the time  Because of external pressures, they try to do all of it  There is sexism represented in these lines because only women have lengthy expectations to meet  Piercy’s diction in this stanza “create[s] a powerful vision of the way people exert their influence on impressionable young women, as well as undermine young women who, at heart, want to resist the influences of the dominant culture ”  The girl in the poem is easily influenced because she has conformed to society since she was a little girl  Because of this, she aims to meet all of these expectations, but cannot sustain them  She is worn down further and further “like a fan belt "
 and eventually kills herself trying to become as perfect as society wants her to be  She finally gave society her nose and legs because she could not live in this way anymore 

Fourth stanza
The fourth and final stanza talks about the girl’s death  She ultimately died trying to be as perfect as her Barbie Doll, a cookie cutter woman molded by society  She died trying to reach something that was unattainable, yet encouraged, which is where the real problem in lies  She was displayed in her casket, all dolled up  Society had finally made her who it wanted her to be but at the cost of her life  Now that she was covered in makeup, reconstructed, and nicely dressed, she was considered pretty  The stanza finishes with the line “to every woman a happy ending " 
 This shows that in the end, this was all the girl wanted  She strove and strove to meet society’s unrealistic expectations and when she died trying, she finally did  Being viewed as pretty by society was her goal, and she accomplished it 

Conclusion
The girl in the poem was born in innocence and labeled "girlchild" but because of the society she was born and raised in to, she became corrupted  This poem shows a sad case of girl who lived trying to be perfect and died trying  From the very beginning she was taught to cook, clean, and be who she was “supposed” to be, or in other words, who society told her she was  Because of these sexist and patriarchal influences, she was never completely satisfied with herself  The tortures of society cost the girl her life 

Other analyses of the poem
Barbie Doll’ and ‘G  I  Joe’: Exploring Issues of Gender
Robert Perrin uses his students to examine Marge Piercy's poem  " Perrin provides insight into how younger generations are affected by the stereotyping that is shown by the Barbie Doll itself  This journal gives an analysis on Marge Piercy's poem that can help the reader better understand her criticism 



ground_truth: "Talk That Talk"

prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: What occupation is shared by both Marge Piercy and Richard Aldington?

The following are given passages.
Context 3: Passage 1:
Pueraria
Pueraria is a genus of 15–20 species of legumes native to Asia  The best known member is kudzu, also called Japanese arrowroot  The genus is named after 19th century Swiss botanist Marc Nicolas Puerari 
The genus, as traditionally circumscribed, is polyphyletic, with different species being more related to other species in the tribe Phaseoleae  Current research, reproduced below, splits the genus into five clades, one of which defines the current monophyletic genus 

Species
The genus Pueraria is highly polyphyletic; the below list is divided by clade following the result of A N Egan & B Pan (2016)  In 2015, the authors validly published their proposal in Phytotaxa  As of February 2022, Kew Plants of the World Online database accepts these names 

Pueraria sensu stricto
Pueraria sensu stricto includes the vast majority of species in the genus  They fall into a single clade sister to or containing Nogra 
P  alopecuroides Craib
P  calycina Franch 
P  candollei  Benth 
P  edulis Pamp 
P  imbricata Maesen
P  lacei Craib
P  mirifica Airy Shaw & Suvat  (= P  candollei var  mirifica in Egan)
P  montana (Lour ) Merr  – US invasive population comes from a hybrid of more than one of the subspecies Pueraria montana var  chinensis (Ohwi) Sanjappa & Pradeep (= P  chinensis, although ILDS and the plant list instead consider P  thomsonii the synonym)
Pueraria montana var  lobata (Willd ) Sanjappa & Pradeep (= P  lobata)
Pueraria montana var  thomsonii (Benth ) Wiersema ex D B  Ward (= P  thomsonii, missing in ILDS)
P  pulcherrima (Koord ) Koord -Schum 
P  sikkimensis Prain
P  tuberosa (Roxb ex Willd ) DC  – type species

Provisionally retained
The following are not included in the 2016 study due to insufficient material for sequencing  They are accepted by POWO 
P  bella Prain: conflicting proposals assigning either to the main clade or to Neonotonia (morphology) 
P  bouffordii H  Ohashi: presumably in the main clade (morphology) 
P  grandiflora Bo Pan & Bing Liu: presumably in the main clade (morphology) 
P  xyzhuii H  Ohashi & Iokawa: presumably in the main clade (morphology) The following are not included in Egan et al  2016 for other reasons, but are accepted by Kew POWO:

P  garhwalensis L R Dangwal & D S Rawat: excluded per van der Maesen (2002)
P  neocaledonica Harms: not mentioned
P  maesenii Niyomdham: not mentioned

Former members
The rest of the genus fall into four clades, sorted by distance from the main clade:
Neustanthus Benth  – sister to Sinodolichos
P  phaseoloides (Roxb ) Benth  → N  phaseoloides (Roxb ) Benth P  edulis, P  montana, and N  phaseoloides make up what is known as kudzu  The morphological differences between these species are subtle 
N  phaseoloides var  javanicus (= P  javanica (Benth ) Benth )
N



ground_truth: poet

prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: Which is a flowering plant, Pueraria or Pleiospilos?

The following are given passages.
Context 3:  phaseoloides var  phaseoloides
N  phaseoloides var  subspicatus
Teyleria
P  stricta Kurz → T  stricta
Toxicopueraria A N Egan & B Pan – sister to Cologania
P  peduncularis Grah  → T  peduncularis
P  yunnanensis Franchet → T  yunnanensis
Haymondia A N Egan & B Pan – notably lies out of Glycininae near Kennediinae; known for a long time to be misplaced
P  wallichii DC  → H  wallichiiThe following names are not accepted even before Egan 2016 but have seen valid publication:

P  omeiensis Wang et Tang – P  montana: unaccepted name after Mount Omei 
P  stracheyi Baker → Apios carnea (Wall ) Benth  ex Baker 
P  maclurei (F  P  Metcalf) F  J  Herm  → Sinodolichos lagopus – still accepted by WFO
Passage 2:
Pleiospilos nelii
Pleiospilos nelii, the split rock, splitrock or living granite, is a species of flowering plant in the family Aizoaceae, native to South Africa  It grows in semi-arid areas with rainfall of between 150mm and 300mm, in the Karoo of South Africa 

Etymology
The species epithet nelii honours the South African botanist Gert Cornelius Nel  The common name "split rock" refers to the appearance of the plant's leaves 

Description
Pleiospilos nelii is a succulent perennial which can reach a height of 5–8 cm (2–3 in) and a diameter of about 10 cm (4 in)  This very short-stemmed, nearly stemless plant has one or more pairs of opposite, almost hemispherical, grey-green or brownish leaves  The surface of the leaves has many small dark spots  A new pair of leaves is produced each year, replacing an older pair  This plant closely resembles a small cracked rock (hence the common name), an appearance which may have evolved as a defence against herbivory  The superficially daisy-like flowers are yellow-orange, 6–7 5 cm (2–3 in) across, and emerge from the plant's apical bud  The flowers are large in relation to the size of the plant  Each flower opens in the afternoon and closes at sunset, over a bloom period of several days 

Cultivation
P  nelii is one of several plants cultivated for their rocklike appearance  They are sometimes collectively called mesembs  In temperate regions it is grown under glass for protection from excessive rain and hard freezes  It has gained the Royal Horticultural Society's Award of Garden Merit 

Gallery
Passage 3:
Pleiospilos simulans
Pleiospilos simulans (liver plant, split rock plant) is a species of flowering plant in the family Aizoaceae, once endemic to the Eastern Cape of South Africa  Known populations of the plant in the wild are now extinct due its collection as an ornamental plant for succulent collectors  It is a small, low-growing, perennial with succulent leaves and orange or yellow many-petaled flowers 
Passage 4:
Pleiospilos
Pleiospilos is a genus of succulent flowering plants of the family Aizoaceae, native to South Africa  The name is derived from the Greek pleios "many" and spìlos "spot"  The plants are also known as kwaggavy ("Quagga mesemb"), lewerplant ("liver plant"), lewervygie ("liver mesemb"), klipplant ("stone plant"), split rock or mimicry plant 
Pleiospilos species have two or four opposite, very fleshy, grey-green leaves growing from a short stem that may be underground  The leaves, with their hemispherical shape and pitted texture, often strongly resemble a pile of split pebbles to deter predators  Flowers emerge from the center of the leaves, and may be very big in relation to the overall size of the plant They reproduce both sexually and asexually  Vegetative offshoots emerge from the root system  Seed set occurs in early spring around March The species P  bolusii and  P  nelii are cultivated as ornamentals 

Species
Pleiospilos bolusii
Pleiospilos compactus
P  compactus subsp  compactus
P  compactus subsp  canus
P  compactus subsp  minor
P  compactus subsp  fergusoniae
P  compactus subsp  sororius
Pleiospilos nelii
Pleiospilos simulans
Passage 5:
Pleiospilos bolusii
Pleiospilos bolusii, the mimicry plant, is a species of flowering plant in the family Aizoaceae, native to the Eastern Cape of South Africa, where it grows at an altitude of 750–1,100 m (2,461–3,609 ft)  The species epithet bolusii honours Harry Bolus, a 19th-century South African botanist 
It is a small, stemless succulent perennial growing to 8 cm (3 in) tall by 15 cm (6 in) wide, with two or four opposite grey-green leaves, quite thick, fused at the base, almost triangular, with entire margins  The leaves are longer and more angular than those of the closely related P  nelii, but in both cases the shape and texture of the leaves resemble a pile of split pebbles, possibly to deter predators  The yellow, many-petaled, daisy-like flowers emerge from the center of the leaves, and are 6–8 cm (2–3 in) in diameter - large in relation to the overall size of the plant  The flowers are often coconut-scented  The flowering period extends from August to September 
The plant is one of several species cultivated for their rocklike appearance, which are sometimes collectively called mesembs  With a minimum temperature of 7 °C (45 °F), in temperate regions it is grown under glass  It has gained the Royal Horticultural Society's Award of Garden Merit 



ground_truth: Pleiospilos