On the Floor

"On the Floor" is a song recorded by American singer Jennifer Lopez for her seventh studio album, Love? (2011). Featuring American rapper Pitbull, it was released by Island Records on February 8, 2011, as the lead single from the album. "On the Floor" was written by Kinnda "Kee" Hamid, AJ Junior, Teddy Sky, Bilal "The Chef" Hajji, Pitbull, Gonzalo Hermosa, Ulises Hermosa, along with the song's producer RedOne. It is a pop song combining techno, Latin, dance-pop and house music and with a common time tempo of 130 beats per minute. Lopez recorded a Spanish-language version of the song titled "Ven a Bailar" (English: "Come to Dance"), which includes additional lyrical contributions from Julio Reyes Copello and Jimena Romero.

The song's development was motivated by Lopez's Latin heritage and pays homage to her career-beginnings as a dancer. Interpolated within the song are recurrent elements of the 1982 Bolivian composition "Llorando se fue" written by Gonzalo and Ulises Hermosa of Los Kjarkas, a composition that gained notoriety when it was covered by Kaoma in their 1989 single "Lambada". Lopez described "On the Floor" as an evolution of her classic sound and as something which sounded very current. The debut and release of "On the Floor" coincided with Lopez's appointment as a judge on the tenth season of US reality TV show American Idol, as well as several other product endorsement deals. American Idol also provided a platform to debut the single's music video, as well as the stage for Lopez's first live performance of the song.

Editors from BBC Music and Los Angeles Times drew comparisons to Lopez's debut single, "If You Had My Love" (1999) and follow-up single "Waiting for Tonight" (1999). In the United States, it was Lopez's first single in four years to garner airplay, and has sold 3.8 million copies, earning a triple platinum certification by the Recording Industry Association of America (RIAA). It was ranked by Billboard as the eleventh-biggest hit of 2011 on the year-end Billboard Hot 100 chart. "On the Floor" finished in first in Austria, Finland, Germany, Spain, Switzerland, and other countries.

A music video was directed by TAJ Stansberry and choreographed by Frank Gatson Jr, with fans being given the chance to vote for their preferred ending for the video. The completed clip premiered simultaneously on Vevo and during the March 3, 2011 episode of American Idol. It depicts a Los Angeles underground club culture where Lopez portrays a "queen of the nightclub", among other characters. The video received critical acclaim for its lavish production, styling, and choreography, all of which critics felt highlighted Lopez's skills as a dancer. "On the Floor" sold over eight million copies worldwide in 2011, making it the best-selling single of that year by a female artist.

## Background

Lopez's seventh studio album Love? (2011) was conceived in late 2007 and early 2008. During that time frame, under contract to Epic Records, Lopez released "Louboutins", a song written and produced by The-Dream and Tricky Stewart, as the project's lead single. However upon release, the song failed to garner enough airplay to chart, despite topping the US Billboard Hot Dance Club Songs chart. Lopez subsequently left Epic Records, citing that she had fulfilled her contractual obligations and now wished to release Love? under a new label. Upon signing with The Island Def Jam Music Group, Lopez continued working with The-Dream and Tricky Stewart, in addition to collaborating with new producers such as RedOne. It was not until January 2011 that Lopez teased the media about the new lead single for Love?. In a tweet on her Twitter account, Lopez posted: "I see u @RedOne_Official! We're making BIG things happen 'On the Floor' this new year!!!". Subsequently, on January 16, 2011, an unfinished snippet of "On the Floor" leaked online, labelled as a RedOne production and featuring rap vocals from Pitbull. It is the second time that Lopez and Pitbull have collaborated on a song, the first being "Fresh Out the Oven", the 2009 buzz single which reached number one on the Hot Dance Club Songs chart.

According to the Los Angeles Times's Gerrick D. Kennedy, a full-length unfinished version of "On the Floor" leaked online over the same weekend in time for Lopez's new L'Oreal commercial, which premiered during the telecast of the 68th Golden Globe Awards ceremony in Los Angeles. The timing of the leak also coincided with Lopez's debut on judges panel for season ten of American Idol. Lopez confirmed the single's title as "On the Floor" during the red carpet ceremony at The Golden Globes, before appearing the following day on the radio show On Air with Ryan Seacrest for the song's US premiere. The final version of the song was uploaded to Ryanseacrest.com, where the site's editor, Sadao Turner, revealed that the final master of the song was different from the previously leaked and unfinished version. "On the Floor" made its debut in the United Kingdom, on January 28, 2011 when it was played by DJ Scott Mills on his radio show, Ready for the Weekend. Benji Eisen from AOL Music stated that Lopez had used "genius marketing and branding" by synchronizing the digital release of "On the Floor" with the premiere of its music video on American Idol. It was added to the B-playlist on the UK's biggest mainstream radio station, BBC Radio 1, on March 16, 2011.

When talking about "On the Floor", during an interview with MTV, Lopez said that she wanted a song that would evolve her sound, "it feels like me today, which I like. It's not something that you hear and you're like, 'That's not her,' but you also go, 'Is that her? I like that. It's new,' and that's what I wanted. I wanted it to be very me, but I wanted it to be me not from my first album or my second album, but for today." Additionally, Lopez felt a strong connection to "On the Floor" because it captured both sides of her career, singing, and dancing, "The minute RedOne played it for me, I made him play it 20 times in a row, and I just sat there at the board and I kept listening to it and listening to it ... Because I really feel like, emotionally, I connected to it, but also because of how much I love to dance and how much that's always been such a big part of who I am since I started. Since I was a little girl, I just totally connected with the idea of getting out there."

## Composition

"On the Floor" is an up-tempo pop and dance-pop song combining elements of Latin, house and techno music. Featured artist Pitbull starts the song with a rap introduction while the melody interpolates elements of the Los Kjarkas composition, "Llorando se fue", popularized by Kaoma's 1989 hit single "Lambada". "On the Floor" was written in the time signature of common time, set at a tempo of 130 beats per minute and in the key of E minor by Bilal "The Chef" Hajji, Kinnda Hamid, Gonzalo Hermosa, Ulises Hermosa, Achraf "AJ Junior" Janussi, Nadir "RedOne" Khayat", Pitbull and Teddy Sky. Lopez's vocal range spans from A3 to B4 while the melody uses a simple chord progression of E minor–C major–G major–B minor. The song was adapted in Spanish as "Ven a Bailar" which featured additional lyrics by Julio Reyes Copello and Jimena Romero.

"On the Floor" was produced by RedOne with additional vocal production by Kuk Harrell. Josh Gudwin joined Harrell to record the vocals whilst the whole composition was recorded and engineered by RedOne, Christopher "TEK" O'Ryan and Trevor Muzzy at Cove Studios in New York and Henson Recording Studios in Los Angeles. O'Ryan, RedOne and Harrell also edited Lopez's vocals while the latter two also arranged vocals for the final track, with Harrell also providing background vocals. All instruments and programming were carried out by RedOne with the exception of the accordion which was tasked to Alessandro Giulini. Pitbull appears courtesy of Mr. 305, Polo Grounds Music and RCA Records. His vocals were recorded by Al Burna at Al Burna Studios in Davie, Florida and At El Studios Indamix in Dominican Republic. Final mixing was carried out by Muzzy.

According to Idolator and Gerrick Kennedy from the Los Angeles Times, "On the Floor" is reminiscent of Lopez's single, "Waiting for Tonight" (1999). Kennedy elaborated on the comparisons, stating that "listeners haven't heard this dance-electro-pop side of Lopez since 1999... much of her back catalog flirts with more gritty urban-pop sounds." Editors for the New York Daily News made some comparisons between "On the Floor" and another RedOne production, Kat DeLuna's 2010 single, "Party O'Clock". DeLuna's song contains the lyrics "Party in Ibiza, Party in New York/All the way to Africa/Love in the Caribbean/On my way to Vegas" whereas Lopez sings the nearly identical line, "Brazil, Morocco/London to Ibiza/Straight to L.A. New York/Vegas to Africa."

## Critical reception

"On the Floor" garnered universal acclaim from music critics. Rolling Stone called the song "music worth getting lost in". Mikael Wood from the Los Angeles Times agreed, calling "On the Floor" the standout track from Love? Wood said, "On the Floor" "returned Lopez to the upper reaches of the Billboard Hot 100" but added that the rest of the album was unlikely to match its success. The Houston Chronicle's Joey Guerra concurred with his following critics, nothing that "On the Floor" was one of the four standout moments on the album, typyifying the "aggressively sexual anthems that are likely to soundtrack the summer." Comments echoed by The Observer's Hermione Hoby read, "the song ['On the Floor'] was a particular triumph."

In his article for the Los Angeles Times, Gerrick Kennedy said the song is a "sweat-inducing, sticky dance floor track" which was "vintage J.Lo" and catchier than either of her previous releases, "Louboutins" or "Fresh Out the Oven". Although Kennedy praised the song's overall appeal, he commented that RedOne had produced more inventive "pop gems" with the likes of Lady Gaga and that Pitbull's appearance was a "throwaway verse." In her review for AOL Music's Radio Blog, Nadine Cheung commented that Lopez "reinforces her renaissance woman status." Nick Levine from Digital Spy called "On the Floor" a song that The Black Eyed Peas would have been "proud to have released". Levine's review agreed with others that the song was a "welcome comeback for Lopez," and praised the use of a "not so-subtle" sample with the "Latin-tinged electro-housy" production. Overall, he said that the production was "the antithesis of classy", and although not original "there's no denying that this gets the job done."

Not all of the reviews were positive, with some critics citing a lack of originality. In his review of Love?, BBC Music's Alex Macpherson said that "On the Floor" was a predictable recording from Lopez as it was "not too dissimilar to the supreme millennial house of 'Waiting for Tonight' (1999)". He went on to describe "On the Floor," and album track "Papi," as "apparent distillations of the trashy Miami house aesthetic that dominates pop these days." Ken Capobianco from The Boston Globe described "On the Floor" as quite generic.

The single also drew comparisons to "Party O'Clock," a 2010 single by American singer Kat DeLuna, also produced by RedOne. In a statement issued to the New York Daily News, DeLuna said "It's cool that artists like J.Lo are inspired by my musical sound and style. ... Jennifer helped pave the way for Latinas like myself. I love her", and insisted that there wasn't an issue. DeLuna also noted Lopez as someone who inspired her, and paved the way for someone like her to perform. Following previews of the music video for "On the Floor," DeLuna changed her mind about how she felt with the claims of copying. In another interview with the New York Daily News, several days after the first, she said "I've seen this before, where the more established artist tries to take the vision and artistic ideas away from an emerging artist and assumes no one will notice because of their bigger shadow,... Luckily, my loyal fans and the power of the Internet have let the 'Kat' out of the bag." Lopez was interviewed about the issue on Hispanic-American entertainment program ¡Despierta America!. Lopez replied "What? Really? I'm not aware of that...", and when pressed by the presenter a second time, insisted she had not heard rumors of the comparisons.

### Accolades

"On the Floor" received two International Dance Music nominations for Best Latin/Reggaeton Track and Best Commercial/Pop Track. The song was nominated at the 2012 Swiss Music Awards for Best International Hit. The Spanish version "Ven a Bailar" received two nominations at the 2012 Billboard Latin Music Awards for Vocal Duet Song of the Year and Latin Pop Song of the Year. "On the Floor" was recognized by the American Society of Composers, Authors and Publishers (ASCAP) in their Most Performed Songs list for the year. "Ven a Bailar" was also recognized at the 20th ASCAP Latin Music Awards at the Pop Category. It received a Broadcast Music Award at the Pop Awards and the London Awards. At the 2011 Premios Juventud ceremony, the duo received a nomination for La Combinación Perfecta (The Perfect Combination) for the song.

She got nominated for the MTV Europe Music Award for Best Song ("On the Floor"), the MTV Europe Music Award for Best Female ("On the Floor"), MuchMusic Video Award for International Video of the Year – Artist ("On the Floor") with Pitbull.

### Impact

In 2022, "On The Floor" was sampled by British drill rappers A1 x J1 and Tion Wayne for their single "Night Away (Dance)". The song was released on March 3, 2022, and debuted at number eleven on the UK Singles Chart two weeks later.

## Chart performance

### North America

"On the Floor" made its chart debut in Canada, during the week beginning February 12, 2011. It debuted at number eighty-six on the Canadian Hot 100, despite not being released until February 22, 2011, thus becoming the first release from Love? to receive airplay recognition. Neither the album's Epic Records buzz single ("Fresh Out the Oven", which also features Pitbull), nor the previous lead single "Louboutins" charted on US Billboard Charts. In the chart week dated April 16, 2011, "On the Floor" became Lopez's fourth Canadian chart-topper, and highest-charting single in nine years following "If You Had My Love" (1999), "Love Don't Cost a Thing" (2001) and "Jenny from the Block" (2002). In the United States, "On the Floor" made its chart debut on the Hot Dance Club Songs, at number twenty-six. Additionally it debuted on the US Pop Songs chart at number forty, marking Lopez's first appearance on pop airplay charts since 2007. The single went on to make its Billboard Hot 100 debut at number nine, becoming the highest debuting Hot 100 single of Lopez's career. "On the Floor" became Lopez's tenth top-ten hit on the Hot 100, of which, six have featured other artists. Billboard's Gary Trust reported that it was Lopez's highest peaking chart position since her 2006 feature on LL Cool J's "Control Myself," although it was actually in 2003 when Lopez last released a top-ten peaking single as a lead artist ("All I Have" with LL Cool J). The full single was not released until February 22, almost one month after it was uploaded to YouTube and serviced to radio, despite a remix EP being available before hand. Keith Caulfield from Billboard noted that Island Def Jam Music's strategy of delaying the release was unusual as fellow pop contemporaries, such as Lady Gaga and Britney Spears, "released their singles to digital retailers at about the same time they were serviced to radio and streaming sites." The single's release was synchronized with the debut of the music video on season ten of American Idol, resulting in first week sales of 170,000 copies and a Hot Digital Songs chart position of number three. The Spanish version of the song also became a success on Latin radio stations where it peaked at number two on the Billboard Hot Latin Songs chart.

As a direct result, Kaoma's 1989 single "Lambada" re-entered the charts after more than two decades, making its digital chart debut at number three on the Billboard World Digital Chart. In the week following the music video's debut, "On the Floor" experienced a 31% increase in sales, which totaled 232,000 copies, and landed the song at number two on the Hot Digital Songs chart, as well as number five on the Hot 100. "On the Floor" thus became Lopez's seventh top-five hit in the United States. It is the first single since "So What" (2008) by Pink to debut in the top-ten of the Hot 100, and then climb up the chart in its second week. Just over a month after release "On the Floor" had sold over 600,000 copies in the United States, according to USA Today's Bill Keveney. Keveney, attributed Lopez's commercial comeback to product endorsement deals with L'Oreal and Gillette, also noting her appointment as a judge on American Idol a contributing factor in the growth of her popularity. During the week ending May 8, 2011, "On the Floor" rose from number seven to a new peak of number three on the Hot 100. By March 28, 2011, "On the Floor" reached number one on the Hot Dance Club Songs chart, becoming her fifth consecutive US dance chart topper, with three coming from her album Love?, including "Fresh Out the Oven" (with Pitbull) and "Louboutins" (2009). "On the Floor" brings Lopez's US dance number ones total to nine singles since she launched her career in 1999. Since then, it has been certified 3× Multi-Platinum by the Recording Industry Association of America (RIAA), denoting shipments of three million copies. As a result of Lopez's first televised performance of the song on May 5, 2011, "On the Floor" logged 175,000 digital sales that week (up 25% on the previous week), earning Lopez the "Digital Gainer" title that week. Consequently, "On the Floor" reached a new peak of number three on the Hot 100 and number five on the US Pop Songs chart, becoming her highest-charting single commercial single as a lead artist, as well as her most successful airplay hit on contemporary hit radio, since 2002's "Jenny from the Block". By April 2012, the song has sold 3.49 million downloads in the US alone. A year later in April 2013, it was reported that "On the Floor" had sold 3.8 million downloads in the United States.

### Europe and Oceania

Globally, "On the Floor" topped 37 national single charts and has sold 11 million copies as of June 2017. On the Slovakia Airplay chart, the single debuted at number sixteen, before peaking at number one where it remained for two weeks beginning on March 7, 2011. It returned to the top of the chart in the first week of April 2011, after dipping to number two at the end of March, and made a third return to number one in the third week of April. In total, "On the Floor" spent a total of seven weeks at number one. It also topped both the Flemish and Wallonian single charts in Belgium. On the Flanders Ultratop 50, "On the Floor" peaked at number one, remaining there for four weeks. Meanwhile, on the Wallonia Ultratop 50, the single remained at number one for four weeks, before dropping to number four and then returning to number one for a fifth week. In both territories, it is Lopez's first number one single in Belgium. The Belgian Entertainment Association (BEA) certified the single gold, for selling 15,000 copies. In Finland, "On the Floor" debuted at number one, giving Lopez her third number one in the country, behind "Love Don't Cost a Thing" (2001) and her debut single "If You Had My Love" (1999). Selling platinum with over 12,000 copies, "On the Floor" was the second-best-selling single of 2011 in Finland and in total it spent nine weeks at number one, making it Lopez's longest-serving number-one, as well as her longest-charting single in the country.

"On the Floor" also reached number one in Spain (fifteen weeks), Germany (six weeks) and France (one week). In Spain, "On the Floor" reached number one on March 13, 2011, where it remained for fifteen weeks. Consequently, the single was certified Triple Platinum, by the Productores de Música de España (PROMUSICAE), for shipments of 120,000 copies. It was also certified 2× Platinum by the Bundesverband Musikindustrie (BVMI), in Germany, for shipping 600,000 copies. In Italy, "On the Floor" entered the Italian Singles Chart at number four before ascending to the summit, where it would remain for four weeks. It is Lopez's fourth Italian number-one, and first English-language single to reach number one since "Get Right" (2005), though Spanish single "Qué Hiciste" reached number one in 2007. The Federation of the Italian Music Industry (FIMI) certified "On the Floor" Multi-Platinum for shipping 60,000 copies. The single experienced similar success in Sweden and Switzerland, where it respectively spent three and five weeks at the top of the countries' singles charts. In Sweden it is Lopez's first number one single, whereas in Switzerland it is her second, following 2007's "Qué Hiciste". In both countries the single was certified Double Platinum, shipping 40,000 copies in Sweden and 60,000 copies in Switzerland. As of July 26, 2011 "On the Floor" had official sales of 1.41 million copies.

In Australia, "On the Floor" debuted at number ten, becoming Lopez's first top-ten single in the country since 2005's "Get Right". It has since reached number one, becoming her second Australian chart topper, and first in nearly twelve years since 1999's "If You Had My Love". It was certified 4× platinum by the Australian Recording Industry Association (ARIA) for shipments of 280,000 copies. It reached number two in New Zealand, and was certified double-Platinum for sales of 30,000 copies. In Ireland, "On the Floor" debuted at number twelve on the Irish Singles Chart on March 10, 2011. It continued a steady climb to the top spot, spending two weeks at number two before finally reaching number one on April 14, 2011. In the United Kingdom, "On the Floor" was added to playlists on mainstream radio in March 2011. On April 3, 2011, "On the Floor" made its UK Singles Chart debut at number one, becoming Lopez's third chart-topper in that country. Overall it is Lopez's twelfth UK top-five hit, and topped the UK Digital Songs chart after logging first week sales of 130,000 copies – the highest first week sales for Lopez in the UK. "On the Floor" also debuted at the top of the R&B Singles Chart. It remained at number one for two weeks, becoming the only single by Lopez to do so. The song was the biggest selling R&B / hip hop single of 2011 in the UK. As of May 2012, "On the Floor" had sold 822,056 copies, becoming Lopez' biggest-selling single in the UK.

### Globally

By the end of 2011, International Federation of the Phonographic Industry (IFPI) noted that "On the Floor" had sold over 8.4 million copies worldwide, making it the best selling single by a female artist.

## Music video

### Background and development

The music video for "On the Floor" was filmed on January 22–23, 2011, with TAJ Stansberry serving as the director and Frank Gatson as the choreographer. Lopez told MTV News that for the video she was holding an open casting call to find club kids, "[We want] those kids who go to the club and they dance all night and that's all they care about? It's just about having a good time, getting all sweaty, and it's all about the music and leaving it on the dance floor. I don't want to say what the video is, but that's the type of dancers. We're doing a big casting call..." Meanwhile, Gatson said that Lopez wanted a post-2AM Los Angeles club vibe for the video. He said,

> "[We're trying to create a vibe] that's so amazing. [It's like] everybody had some watermelon and the watermelon made them high, it gave them a little buzz — but a good buzz, a real magical buzz, a dance buzz, a buzz that makes you feel like fried chicken, so she just wants everybody to have a good old time... The club must have this vibe, where you get on the floor and everybody's bringing it", he added. "We've seen so many club videos, but we want to see a club video with a vibe unique to Jennifer Lopez."

Just prior of the casting call and video shoot, Stansberry expressed his views to MTV News on the concept for the video – originality. "Originality, being you. This song is about being who you want. It's about letting loose. There's no explanation. This is this underground video, this underground party." During the video shoot, MTV interviewed Lopez about the concepts for the video. Lopez described some of the characters she played, telling MTV that in one scene "I play one character where she kind of runs this party, acts like she's kind of over it, but at the same time loves it and loves this kind of underground kind of party dance culture,... So I got to be wild and crazy, and at the same time I got to be sexy and sweet too." The video makes use of product placement, including BMW, Swarovski and Crown Royal, according to Tanner Stransky from Entertainment Weekly. Stransky also noted the "unintentional placement" of fake eyelashes and wigs, weaves, and other hair-extending products.

Lopez later confirmed in an interview On Air with Ryan Seacrest, that the completed music video would premiere jointly on season ten of American Idol and on Vevo on March 3, 2011. Fans could vote between three alternative endings through Idol's official website. Lopez said the idea behind giving fans the choice was to give them a chance to see what she experienced. "You get to do what I do,... Like, I go in there with my videos and I start editing and picking all the shots I like and the things that I like and what I feel the best kind of feeling for the record is. You guys get to do that. We picked two different ones and we weren't sure." The alternative endings included three varying scenes: in the first, the video ends with a close-up of Lopez's face in the silver lace catsuit; the second ends with a shot of dancers defying gravity on the walls and ceiling, while the final ending ends with a shot of Lopez on the dance floor in her harem pants. The first ending was the one used in the final video.

### Synopsis

The clip begins with Lopez's arrival at a club in a black BMW, one example of the product placement used throughout the video. As the music begins, she puts on a pair Swarovski crystal earrings before the camera switches to inside the club. where it descends from the ceiling amongst the Las Vegas-style crystal chandeliers. Choreographer Frank Gatson Jr. called the club, "the best dance party in town," where Lopez played several different characters. Both the scenery and artist were styled to pay homage to her background as a professional dancer, she said she wanted the video to "introduce people to a new J.Lo-ration of party people". In one scene, she plays a dominant queen of the party who watches from above, on a balcony surrounded by servants. When portraying this character, Lopez was styled with "a big beehive bun, gold gladiator heels and a glittery gold gown with Gaga-esque detailing in its high collar and leaves." The 'queen' character "dangles lazily on a couch" and "regally oversees a crowd of people getting down on the dancefloor." In another scene, Lopez wears a silver crystal and lace skin-tight catsuit, designed by Lebanese fashion designer Zuhair Murad, as she dances against a "gold cardio barre" before proceeding to shake her "money maker," according to the Los Angeles Times. Spliced in between these scenes, she is seen dressed in black harem pants and a bikini top, as she walks through the crowd to mount a circular stage on the Las Vegas-style dancefloor. MTV's Kelly Carter and AOL's Khawlhring Sawmteii described the final scenes as Lopez "tearing up the floor," and "breaking it down 'fly-girl' style."

### Reception

The music video was welcomed with critical acclaim from music critics, praising the expensive finish, arrangement, Lopez's sense of fashion and the overall execution. Based on a preview of the video, Entertainment Weekly's Tanner Stransky said the clip brought together a flawless realness with an expensive set-up, things that are "very important elements in the pop music world and to the old Lopez that everyone knew and loved." Following its full premiere, Stransky added that the video was "sexy and sultry." Kyle Anderson from MTV's Newsroom agreed, noting the "gorgeous and exquisite execution," particularly praising Lopez's "incredible hairstyles" and the "gorgeous club interiors [set design]." Anderson ended his review by stating that the premiere of the song's music video almost overshadowed the episode of American Idol in which it was shown.

AOL's Benji Eisen called "On the Floor" a "comeback of sorts" for Lopez, particularly noting its clever cross-promotion with Idol and Lopez's multiple product endorsement deals. He applauded Lopez for moving on from her previous lack of commercial success in recent years. The sex appeal in the video for "On the Floor" was likened to that last displayed by Lopez in the video for 2002's "I'm Gonna Be Alright". A reviewer from the Daily Express said "Jennifer Lopez once told us in a song that 'I'm Gonna Be Alright' and now she's proved it... The curves she displayed when she recorded the hit video nine years ago have been replaced by a leaner, fitter look [in 'On the Floor']." Matthew Perpetua from Rolling Stone agreed with comparisons to Lopez's earlier work: "Basically, this is classic Lopez tweaked for 2011... visuals that update late-Nineties bling with a high fashion wardrobe nearly as eccentric as that of Rihanna and Lady Gaga." As a result of the video's premiere, the online traffic at Lopez's official Vevo account increased by 1000%, and as of October 9, 2022, has received over 2 billion views on YouTube. In the space of two weeks, the video was viewed over thirty million times on Lopez's official Vevo page, according to USA Today.

## Live performances

On May 5, 2011, Lopez and Pitbull took the stage of American Idol to perform "On the Floor" for the first time. The performance consisted of her breaking two dancers out of glass boxes, an elaborate dance routine and two appearances from Pitbull. Initially he appeared from the crowd, but for his second appearance, he arrived at the back of the stage via a moving staircase. Lopez was dressed in a "glimmering ensemble" while the set included lasers and pyrotechnics. According to Adam Graham from MTV, the performance was taped prior to the episode of Idol, made apparent by what Graham called "sloppy editing." According to The Hollywood Reporter, Lopez pretaped the performance due to a perceived danger of flying shards of glass from the earlier part of the routine. The performance was praised by Caryn Ganz from Yahoo! Music, who complimented all of the element of the performance. Ganz said "[everything from the] lush production values to her own high energy dancing and live vocals ... This performance maxed out what an artist can do in such a medium – awesome lighting, high-impact video footage, a strong feature from Pitbull, excellent staging, solid choreography, a bit of pyro, and a ton of warmth and personality." An editor from Rap-Up magazine agreed, saying that "Lopez showed the contestants how its done, commanding the stage during her smashing performance."

The duo reprised their performance at KIIS-FM's Wango Tango music festival in Los Angeles, on May 14, 2011. Lopez wore a shiny gold catsuit for the performance, which did not go as planned when halfway through the performance her microphone failed. She continued performing for 20 seconds, before realising that she had lost sound. According to lifestyle website Female First, Lopez proceeded to dance, and urged the audience to sing along. At the end of the performance, Lopez addressed the crowd straight after the performance, saying "We ain't gonna let that get us down, right? Nobody keeps mama down." After Pitbull informed her of the malfunction, she turned to the band asking them to start from the beginning so that she could perform the song again.

On June 11, 2011, Lopez flew to the United Kingdom to promote "On the Floor," first appearing at Capital FM's Summertime Ball. Later that day, she appeared at the finale of the second series of So You Think You Can Dance to reprise the performance. Wearing a skin-tight catsuit, Lopez descended from the ceiling in an illuminated heart before proceeding to perform the song, which included her dropping to her knees during the chorus. Lopez reprise the performance on X Factor (France) on June 14, 2011, and German game-show Wetten, dass..? on June 18.

Lopez later performed the song as part of her medley during the 2018 MTV Video Music Awards on August 20, 2018, at Radio City Music Hall in New York City.

The song was featured in Lopez's setlist during the Super Bowl LIV halftime show.

## Formats and track listings

- CD single

1. "On the Floor"  – 3:51
2. "On the Floor" (Low Sunday Club Remix)  – 6:22

- Digital download

1. "On the Floor"  – 3:51

- Digital download (Spanish Version)

1. "Ven a Bailar (On the Floor)"  – 4:52

- Digital download (EP)

1. "On the Floor" (Radio Edit)  – 3:51
2. "On the Floor" (CCW Club Mix)  – 6:26
3. "On the Floor" (Ralphi's Jurty Club Vox)  – 8:43
4. "On the Floor" (music video)  – 4:27

- Digital download (Remixes)

1. "On the Floor" (CCW Radio Mix)  – 3:44
2. "On the Floor" (Low Sunday "On the Floor" Radio Edit)  – 3:51
3. "On the Floor" (Ralphi's Jurty Radio Edit)  – 3:57
4. "On the Floor" (Mixin Marc & Tony Svejda LA to Ibiza Radio Edit)  – 3:16
5. "On the Floor" (CCW Club Mix)  – 6:26
6. "On the Floor" (Low Sunday "On the Floor" Club)  – 6:22
7. "On the Floor" (Ralphi's Jurty Club Vox)  – 8:43
8. "On the Floor" (Mixin Marc & Tony Svejda LA to Ibiza Mix)  – 6:40
9. "On the Floor" (CCW Dub Mix)  – 6:07
10. "On the Floor" (Low Sunday "On the Floor" Dub)  – 6:37
11. "On the Floor" (Ralphi's Jurty Dub)  – 8:43
12. "On the Floor" (Mixin Marc & Tony Svejda LA to Ibiza Dub)  – 5:36

## Credits and personnel

Credits taken from CD single, "On the Floor" contains interpolations of the Los Kjarkas composition: "Llorando Se Fue", written by Gonzalo Hermosa and Ulises Hermosa.

Recording

- Cove Studio (New York)
- Henson Recording (Los Angeles)

- Al Burna Studios (Davie, Florida)
- Et Al Indamix (Dominican Republic)

Personnel

- Alessandro Giulini – accordion
- Josh Gudwin – vocal recording
- Bilal Hajji – songwriter
- Kinda Hamid – songwriter
- Kuk Harrell – vocal arranger, vocal editor, vocal producer, vocal recording
- Gonzalo Hermosa – songwriter
- Ulises Hermosa – songwriter
- Achraf "AJ Junior" Janussi – songwriter

- Trevor Muzzy – audio mixer, recording engineer
- Nadir "RedOne" Khayat – producer, songwriter, vocal arranger, vocal editor, vocal producer, instruments and programming, recording engineer
- Jennifer Lopez – lead vocalist, backing vocalist
- Chris "TEK" O'Ryan – vocal editor, recording engineer
- Armando "Pitbull" Perez – rap vocalist, songwriter
- Geraldo "Teddy Sky" Sandell – songwriter
- Low Sunday (Bart Schoudel & Ron Haney) – additional production for remix

## Charts

### Weekly charts

### Year-end charts

## Certifications

## Release history

## See also

- Billboard Top Latin Songs Year-End Chart
- List of Billboard Hot 100 top 10 singles in 2011
- List of Hot 100 number-one singles of 2011 (Canada)
- List of number-one dance airplay hits of 2011 (U.S.)
- List of number-one dance singles of 2011 (U.S.)
- List of number-one hits of 2011 (France)
- List of number-one hits of 2011 (Italy)
- List of number-one pop hits of 2011 (Brazil)
- List of number-one R&B hits of 2011 (UK)
- List of number-one singles from the 2010s (UK)
- List of number-one singles of 2011 (Australia)
- List of number-one singles of 2011 (Finland)
- List of number-one singles of 2011 (Spain)
- List of number-one singles of 2011 (Sweden)
- List of Polish Dance Chart number-one singles of 2011
- List of Romanian Top 100 number ones of the 2010s
- List of Ultratop 50 number-one singles of 2011

2011 single by Jennifer Lopez

Songs involved in plagiarism controversies

Ultratop 50 Singles (Flanders) number-one singles

Ultratop 50 Singles (Wallonia) number-one singles


Battle of the Samichon River

The Battle of the Samichon River (24–26 July 1953) was fought during the final days of the Korean War between United Nations (UN) forces—primarily Australian and American—and the Chinese People's Volunteer Army (PVA). The fighting took place on a key position on the Jamestown Line known as "the Hook", and resulted in the defending UN troops, including the 2nd Battalion, Royal Australian Regiment (2 RAR) from the 28th British Commonwealth Brigade and the US 7th Marine Regiment, repulsing numerous assaults by the PVA 137th Division during two concerted night attacks, inflicting numerous casualties on the PVA with heavy artillery and small-arms fire. The action was part of a larger, division-sized PVA attack against the US 1st Marine Division, with diversionary assaults mounted against the Australians. With the peace talks in Panmunjom reaching a conclusion, the Chinese had been eager to gain a last-minute victory over the UN forces, and the battle was the last of the war before the official signing of the Korean armistice.

During the action, the PVA had attempted to make a breakthrough to the Imjin River along the divisional boundary between the US 1st Marine Division and the 1st Commonwealth Division to turn the Marine division's flank. Yet with well-coordinated indirect fire from the divisional artillery, including the 16th Field Regiment, Royal New Zealand Artillery, and support from British Centurion tanks of the 1st Royal Tank Regiment, 2 RAR successfully thwarted both assaults, holding the Hook. U.N sources estimated PVA casualties at 2,000 to 3,000 killed, with the majority of them inflicted by the New Zealand gunners. Meanwhile, on the left flank, US Marines had endured the brunt of the attack, repelling the PVA onslaught with infantry and artillery. Only a few hours later, the armistice agreement was signed, ultimately ending the war. Both sides subsequently withdrew 2 kilometres (1.2 mi) within 72 hours to create the 4-kilometre (2.5 mi) Korean Demilitarised Zone.

## Background

### Military situation

Following the Battle of Maryang San in early October 1951 the 28th British Commonwealth Brigade maintained a defensive posture for the rest of the month. Amid heavy fighting on the afternoon of 4 November the PVA recaptured Hill 317, which was by then held by the 1st Battalion, King's Own Scottish Borderers, in an action for which Private Bill Speakman was later awarded the Victoria Cross. The hill remained in PVA hands until the end of the war. The Battle of Maryang San subsequently proved to be one of the last UN actions in the war of manoeuvre, and with peace talks going on, the fighting was replaced by a static war characterised by fixed defences, trench lines, bunkers, patrols, wiring parties, and minefields reminiscent of the Western Front in 1915–17. Construction of defensive localities sited in all-round defence with interlocking arcs of fire began almost immediately, although such operations were confined to the reverse slopes during the day due to artillery and mortar fire, which made such operations hazardous. Patrolling and ambushing by both sides also began to prevent the other from gaining control of no man's land. The 1st Commonwealth Division, which included British, Australian, Canadian, New Zealand, and Indian troops, subsequently occupied part of the Jamestown Line—a UN defensive position that extended 250 kilometres (160 mi) across central Korea—in the US I Corps sector on the US Eighth Army's left flank. The war was no less bloody, though, and the division remained in the line for all but two of the remaining 19 months of the war.

From 19 January 1952, the 3rd Battalion, Royal Australian Regiment (3 RAR) was in defence on the Jamestown Line as part of the 28th British Commonwealth Brigade before going into reserve on 18 April, where they remained until the end of June. Meanwhile, in early 1952 the Australian government had agreed to an American request to increase its forces in Korea, dispatching a second infantry battalion to join 3 RAR which had been fighting since September 1950. The 1st Battalion, Royal Australian Regiment (1 RAR) arrived in Korea on 6 April 1952, with both battalions forming part of the 28th British Commonwealth Brigade under the command of an Australian brigadier. The brigade re-entered the line on 30 June and 1 RAR spent the following fourteen weeks patrolling, ambushing and raiding, before the 28th British Commonwealth Brigade again went into reserve on 5 October. The brigade returned to the Jamestown Line in early November, with 1 RAR taking over the defences on Hill 355 from the Canadians. The Australians were subsequently forced to clean up large quantities of rubbish left by the Canadians as well as repairing and camouflaging the defences which had recently been attacked by the PVA. 1 RAR implemented an aggressive patrol program in an effort to regain control of no-man's land from the PVA, which had been allowed to establish hides close to the perimeter. Several PVA outposts were subsequently destroyed during raids of up to company-size.

On 28 December 1952, 3 RAR took over the defences on Hill 355 and remained there until the 1st Commonwealth Division went into reserve at the end January 1953. On 21 March, 1 RAR was replaced in Korea by 2 RAR, after nearly 12 months operational service. Heavy fighting occurred in March, with the PVA moving back over to a limited offensive in the US I Corps sector, in an attempt to regain the initiative following the winter. Heavy fighting occurred around the Hook, which was by then held by the US 2nd Infantry Division following the relief of the 1st Commonwealth Division, the Old Baldy and Pork Chop Hill features held by the US 7th Division, and in the western sector held by the US 1st Marine Division around the Vegas and Nevada Complex. Peace talks finally resumed at Panmunjom on 6 April and an agreement was soon made to exchange sick and wounded prisoners. Consequently, 648 UN and 6,670 PVA and North Korean prisoners were subsequently repatriated as part of Operation Little Switch on 20 April, including five Australians. For a while, the tempo of operations slackened, returning to the small-scale raids and probes of the winter months. Yet during the final three months of the war, the PVA launched a series of offensives prior to the signing of a ceasefire agreement.

In early April 1953, the 1st Commonwealth Division returned to the Jamestown Line. By this time, the division was commanded by Major General Michael West, a British officer who had taken over command in September the previous year. The 28th British Commonwealth Brigade subsequently occupied the north-eastern sector. Hill 159 was occupied by 2 RAR during 5 May to 16 June, while 3 RAR held Hill 355 during the period 7–27 May; 3 RAR then relieved 2 RAR on 16 June and remained on Hill 159 until 10 July. Meanwhile, the Hook was a key position on the left flank of the line held by the 1st Commonwealth Division and was the division's most threatened sector on the Jamestown Line. Held by the 29th British Infantry Brigade, the position consisted of a group of hills west of the Samichon River which dominated the Imjin River, 4 kilometres (2.5 mi) to the south, and provided observation and fields of fire over a bend in the river as it turned towards Seoul. Loss of The Hook would force the UN troops to withdraw nearly 8 kilometres (5.0 mi) to the next tenable defensive line on the high ground south of the Imjin River. As a result, the PVA had made repeated attacks against it, with the 1st Battalion, Princess Patricia's Canadian Light Infantry repulsing the first PVA attempt in late-March 1952. the 1st Marine Division defended the area in the First Battle of the Hook in October 1952. The 1st Battalion, the Black Watch, did so again in November 1952, while the 1st Battalion, Duke of Wellington's Regiment, had fought the heaviest battle there in May 1953 during the Third Battle of the Hook.

In the western sector, American outposts such as Detroit, Berlin, East Berlin, Reno, Carson, Elko, and Vegas had been bitterly contested over the previous months by the US 1st Marine Division and the Turkish Brigade, but by June, the Reno, Elko, and Vegas positions were held by the PVA. The front subsequently returned to its usual defensive routine, but following a temporary break-down in negotiations after the unilateral release of 25,000 anti-communist Chinese and North Korean prisoners of war by President of South Korea Syngman Rhee, the PVA had renewed large-scale attacks on 24 June. Concentrating on the Republic of Korea Army (ROK) divisions in the eastern and central sectors, the PVA launched another offensive in June in an attempt to convince the South Korean leader to come to terms. The fighting continued until the end of the month, as the PVA successively drove back elements of ROK 9th Division in the US IX Corps sector and the ROK 1st Division in the US I Corps sector.

By early July, the PVA launched a major offensive in the ROK II Corps and US X Corps sectors. The Americans and ROK subsequently responded with a series of counter-attacks to regain the ground lost, yet these met with only limited success. On 6 July, the PVA attacked elements of the US 7th Division on Pork Chop Hill on the US I Corps' right flank, and succeeded in gaining the crest. The Americans were reinforced and counter-attacked over the following days, although again without success. Following another PVA assault on 9 July, the Americans again counter-attacked, yet neither side gained a clear advantage. The following day, the PVA launched a series of company- and battalion-sized assaults, but were repulsed. With the Americans unprepared to accept further casualties for limited tactical gain, though, they evacuated Pork Chop Hill on 11 July.

## Prelude

The peace talks resumed in early July as Rhee's position apparently softened, yet this proved to be the impetus for a final PVA offensive, as they sought to further influence the talks and improve their defensive positions at the same time. On 14 July, elements of five PVA armies struck six South Korean divisions around the Kumsong salient. By 20 July, the ROK Capital Division and much of the ROK 3rd Division had been practically destroyed, exposing serious weaknesses despite two years of American training. The ROK fell back and the UN line was penetrated to a depth of 9.7 kilometres (6.0 mi). Only American intervention restored the situation, and ultimately, nine ROK and US divisions were required to stem the PVA offensive and regain some of the lost ground. Following a counter-attack by ROK II Corps, a new defensive line was established south of the Kumsong River. Meanwhile, in conjunction with the main offensive at Kumsong, the PVA 19th Army Group had conducted a series of limited offensives against US I Corps, with the 46th Army conducting assaulting 1st Marine Division outposts from 7 to 27 July. PVA losses were heavy nonetheless, and they sustained more than 28,000 casualties for only temporary gain.

During the second week of July, West had reshuffled his brigades to allow the 29th British Infantry Brigade to recuperate in the 1st Commonwealth Division's central sector. The 28th British Commonwealth Brigade, under the command of an Australian officer, Brigadier John Wilton, subsequently took over the battered defences on the Hook on 9–10 July 1953, on the division's left. The brigade was the strongest in the division, consisting of the two Australian battalions—2 RAR and 3 RAR—and two British battalions—the 1st Battalion, Durham Light Infantry (1 DLI) and 1st Battalion, Royal Fusiliers (1 RF)—as well as supporting artillery and armour in direct support. Among the latter was the 16th Field Regiment, Royal New Zealand Artillery (16 RNZA) and C Squadron of the British 1st Royal Tank Regiment equipped with Centurion tanks. The 25th Canadian Brigade was subsequently handed the responsibility for the equally exposed positions on Hills 355 and 159 on the right. The ROK 1st Division held the line on the 1st Commonwealth Division's right flank, while the 1st Marine Division, under the overall command of Major General Randolph Pate, held the Nevada Complex on the left flank, having taken over the line on 7–8 July. On the American right, the 7th Marine Regiment under Colonel Glenn C. Funk occupied a linear defensive position, with two battalions forward and one back. The 5th Marine Regiment occupied the central sector, while the 1st Marine Regiment held the rear in divisional reserve. Indirect fire support was provided by the 11th Marine Regiment. Meanwhile, by May 1953 the PVA 1st, 46th, 63rd, 64th and 65th Armies of the 19th Army Group were operating against the US I Corps under the overall command of Huang Yongsheng.

Wilton deployed the stronger Australian battalions forward, with 2 RAR occupying the left forward position on the Hook, while 3 RAR was deployed on the right, overlooking the Samichon River. The opposite side of the Samichon was occupied by 1 DLI, while 1 RF was held in reserve as a brigade counter-penetration force. 2 RAR was commanded by Lieutenant Colonel George Larkin, while 3 RAR was under the command of Lieutenant Colonel Arthur MacDonald. Larkin deployed 2 RAR with three companies forward, and one back in reserve as a counter-attack force. In the centre, the Hook was held by B Company, while C Company held the left and A Company the right, with D Company in reserve. MacDonald deployed 3 RAR with two companies forward and two in depth. A Company occupied Hill 146, on the boundary with 2 RAR, B Company held the south-eastern tip of the ridge, and C and D Companies were held in reserve. British Centurion tanks were also deployed forward to support the Australians. Directly confronting the Australians on The Hook was the PVA 137th Division, 46th Army which had been in the line since February 1953, under the command of Cheng Dengzhi.

The positions occupied by the Australians had been badly damaged by the PVA assaults and bombardments in May and June, and recent rain had also collapsed some trenches and weakened many of the wire obstacles, yet the extensive tunnel system, dug by the Canadians the previous winter, remained intact and afforded some protection. Efforts to repair the defences and assert control in no-man's land began immediately, with an aggressive patrolling program by the Australians leading to numerous clashes with PVA patrols, while they also endured heavy shelling during this time. By day it was hot and humid making conditions in the bunkers uncomfortable, while by night the defenders worked hard digging, wiring, and laying minefields. The PVA focused most of their attention on the 7th Marine Regiment, which was occupying positions south-west of 2 RAR after having relieved the Turkish Brigade there, and thereby allowed the Australians some time to prepare. Light mortaring hit 2 RAR on 11 July, while one 3 RAR soldier was killed instantly by a 76-millimetre (3.0 in) shell when he was observed walking along the crest-line by a PVA position less than 200 metres (220 yd) from the Australian perimeter. The gun crew was subsequently silenced by Australian sniper fire.

Patrolling by the Australians continued to prevent the PVA from harassing their forward positions. Small clashes occurred on the nights of 15/16, 21/22, 22/23, and 23/24 July, suggesting that the PVA were preparing for a major attack. Aerial reconnaissance subsequently detected a build-up of PVA forces and supplies west of the Samichon River. In response, the Australians and Marines stepped up their defensive preparations, while at the same time, rumours from the peace talks started to spread of a ceasefire. Regardless, PVA harassing artillery and mortar fire intensified, causing a constant stream of casualties among the Australians. Intense PVA shelling struck Hill 121 and the Hook on the night of 19/20 July, with more than 300 rounds wounding four members of C Company, 2 RAR, and further damaging the defences. That night, the Marines were driven off the Berlin and East Berlin features on the left flank, further exposing the Hook, which became a salient. Yet on 21 July an expected PVA assault in the 5th Marine Regiment sector failed to occur, while sightings of PVA troops across the 1st Marine Division front declined as the fighting entered a lull.

On 22 July B Company, 2 RAR was relieved on the Hook by D Company, and subsequently moved into reserve. The following day, with the ceasefire believed to be imminent, Wilton limited patrols to only those considered essential for the security of his forward positions. Rumours spread quickly among the troops that the truce was expected to be signed on 26 July. By 24 July, however, the PVA shelling had once again grown in intensity, while large bodies of PVA infantry were increasingly seen on the forward slopes by the Australians. Meanwhile, similar concentrations of PVA were also reported by the Marines. With the PVA eager to gain a last-minute victory over the UN forces and the tactical advantage offered to the side that held the Hook after the truce, simultaneous attacks were soon launched against 2 RAR and the 7th Marine Regiment on the left flank, in two major actions on the nights of 24/25 and 25/26 July.

## Battle

### First night, 24/25 July 1953

On the evening of 24 July, a 50-strong PVA force probed 2 RAR's forward outposts after dark, attacking C Company on Hill 121 and surrounding a bunker on the left flank, while the Marines had a similar contact on the left flank. A forward Australian standing patrol from D Company subsequently clashed heavily with the PVA probe, losing five wounded before directing tank and artillery fire, which dispersed their attackers. These attacks had been preceded by heavy artillery and mortar fire, with the PVA subjecting C and D Companies, 2 RAR and the 2 RAR Mortar Platoon to a heavy bombardment. Waves of PVA attacked the Australians at 20:50, penetrating between C Company on Hill 121 and the nearest Marines on Hill 111, before being turned back amidst the driving rain. A further attack followed another barrage at 23:25, but was again repelled and faltered before reaching the wire during fierce fighting with grenades and small arms, with the assault failing largely due to the weight of defensive artillery fire. More than 2,000 PVA mortar and artillery rounds fell on the Australian positions during the night. Two Australians were killed and 14 were wounded during the night attack, which was later estimated to have been made by a PVA regiment of up to 4,000 men. The defenders were soaking wet and exhausted, but had held their positions. Despite the weight of the PVA attack against the Australians, their main objective had been Hill 119, another strong point in the American sector 500 metres (550 yd) to the south-west of Hill 111, known as Boulder City, held by the 7th Marine Regiment.

The PVA engaged the Marines on Boulder City with preparatory fire from mortars and artillery at 19:30. Ten minutes later, PVA troops were observed massing for an assault north-west of the Berlin feature, and were subsequently shelled by the Americans. At 20:30, the PVA probed the right flank held by the 3rd Battalion, 7th Marines, first striking Hill 111 and then at Boulder City. After infiltrating forward, the PVA had hid in the paddy fields immediately in front of the American positions during the barrage, and had then rapidly assaulted as soon as the artillery had lifted. The attack coincided with the ongoing relief in place of the defenders by the 1st Marine Regiment under the command of Colonel Wallace M. Nelson, and it subsequently succeeded in temporarily penetrating the American positions on Hill 111. The PVA main effort fell on Boulder City, though, and two battalions subsequently succeeded in occupying a portion of the American trench line. From these positions, the PVA threatened to cut off Company G, 3rd Battalion, 1st Marines, on Hill 119, repeatedly assaulting the Berlin Gate feature on the company's left flank and the East Berlin Gate on its right in an effort to exploit their gains. Throughout the fighting, the Marines were strongly supported by heavy mortar, artillery, and tank fire; however, due to the prevailing weather conditions, no spotter aircraft were able to fly during the night, which limited the effectiveness of the indirect fire available to them.

In support of the Marines on Hill 111, at 21:10, Wilton had ordered one company of 1 DLI to occupy a reserve position on the left of 2 RAR, in the rear of the 1st Marine Division, where they ultimately remained for the rest of the evening. A reserve company from 3 RAR was also readied to respond to any emergency. The Americans eventually drove off the PVA probes after their artillery broke up the attack, but not before they were forced to abandon some of their forward positions. With the attack likely only a diversionary effort, by 21:20 the bulk of the PVA had begun to withdraw from Hill 111. Meanwhile, the fighting on Hill 119 continued. A heavy bombardment fell on the American positions at 21:00, followed by a second assault on Hill 119 by two PVA companies which succeeded in penetrating the Marine perimeter. Hand-to-hand combat developed across the forward trenches, and in the ensuing fighting, Company G was reduced to half-strength, while their ammunition began to run low. Under pressure, by midnight the Americans were forced back another 1,500 metres (1,600 yd) to the reverse slope. 3 RAR was subsequently left exposed, with the forward PVA elements moving to within 1,200 metres (1,300 yd) of the battalion's A Echelon area. Almost surrounded, the position was at risk of becoming untenable. At 00:15, Company I, 3rd Battalion, 1st Marines, was ordered to reinforce Boulder City; they lost heavily after the PVA intercepted a coded message and adjusted mortar and artillery fire onto the Marines as they approached the rear of Hill 119. In response, the 11th Marine Artillery Regiment launched an intense counter-battery barrage.

The PVA also launched several assaults in the central sector against the 5th Marine Regiment, commanded by Colonel Harvey C. Tschirgi. Successively striking outposts on the regimental right flank from 21:15, a reinforced PVA company from the 408th Regiment then concentrated against outpost Esther, held by Marines from Company H. Amid heavy fighting, both sides were reinforced. By early morning, the PVA had seized parts of the forward trench line and moved to isolate the position with indirect fire and patrols, which penetrated between the outpost and the main defensive position to the rear; the Marines still controlled the rear trenches, and upon reorganising their defence, succeeded in checking the PVA assault. Defending strongly, the Marines used flamethrowers, machine guns, and mortars, supported by M46 Patton tanks and artillery fire, and following several hours of fighting, the PVA attack was finally broken up by indirect fire. An entire PVA battalion had been committed piecemeal to the attack, yet by 06:40 the following day, the Marines reported Esther secure. More than 4,000 artillery and mortar rounds had fallen on the outpost during the night; Marine casualties included 12 killed and 35 wounded, while PVA loses included 85 dead, which were counted around the position, 110 more believed killed, and an estimated 250 wounded.

In the 7th Marine Regiment's sector, heavy shelling, small-arms fire, and hand-to-hand fighting continued around Boulder City into the early morning on 25 July. PVA infantry had succeeded in breaking through and occupying a large part of the trench line on the forward slopes, and for a while, even temporarily occupied the crest. At 01:30, Companies G and I, 3rd Battalion, 1st Marines, launched a rapid counter-attack, and by 03:30, the American perimeter had been re-established, and was subsequently reinforced. By 05:30, Hill 119 was secured by the Marines, although scattered groups of PVA remained on the forward slopes, while others attempted to reinforce the left flank. Sporadic fighting and heavy shelling also continued on Hill 111 in the early morning hours, and at 04:00, another fight developed; by 05:30, the position was also controlled by the Americans. Four M46 Patton tanks on Boulder City dispersed the PVA concentrations with high-explosive and machine-gun fire, while Marine infantry assault teams with flamethrowers and 3.5-inch rocket launchers subsequently cleared the remaining PVA from their former bunkers. In total, more than 3,000 PVA troops had assaulted the front held by the 1st Marine Division during the night of 24/25 July.

Throughout the night, the 11th Marine Regiment had been heavily engaged, with the regiment and the 10 battalions under its operational control in the 1st Marine Division sector firing a total of 23,725 rounds, including those from batteries of the US 25th Infantry Division Artillery, the US I Corps Artillery and the 1st Commonwealth Divisional Artillery. The weight of indirect fire available to the defenders had been significant, and the whole of the 1st Commonwealth Divisional Artillery (80 guns) had also been engaged during the fighting, firing in support of both the Australians on Hill 121 and the Marines on their left flank, defending Hill 111 and Boulder City. Unhindered by the restrictions on ammunition usage which had applied to the Marines during this period, the supporting fires of the British-Commonwealth 3.45-inch (88 mm) 25-pounder field guns proved of considerable assistance. A liaison officer from 16 RNZA was sent subsequently over to the Marine artillery regiment during the night to establish communication. More than 13,000 rounds were fired by the British and New Zealand gunners that night, with the close defensive fire having a devastating effect on the assaulting PVA infantry. The artillery had also effectively halted the PVA assault against Hill 121, resulting in a fair degree of frustration among the Australian infantry, some of whom later expressed disappointment at being prevented from getting to grips with the PVA by the accurate New Zealand artillery fire.

Before the battle, a section from the 2 RAR Medium Machine Gun Platoon had been stationed within the American perimeter near Hill 111 to provide covering fire across the area between the positions occupied by the Marines and the Australians. Commanded by Sergeant Brian Cooper, they soon found themselves in the thick of the fighting, firing their Vickers machine guns in support of the Australian positions and to defend themselves from the weight of the PVA main attack, which fell on the Marines. Three men were wounded during the night, but the machine gunners continued to fire in support, while the remainder of the section repelled PVA assaults from the left. Ultimately, the PVA were unable to dislodge them, with the Australians calling in artillery on to their own positions during repeated PVA attempts to overrun them as the Marines withdrew past their position, leaving them isolated. When dawn came, dozens of Chinese bodies were found strewn in front of the Australian machine gunners. As the Marines worked to clear the PVA stragglers from their position, the Australians had endeavoured to coax a PVA soldier from a bunker, yet when he resisted, they were forced to kill him with a grenade. Cooper was later awarded the Military Medal for his leadership, with the stubborn defence of the Australians contributing to the break-up of the PVA attack, which at one stage had threatened to overrun the Marine position. Large groups of PVA remained, though, occupying a number bunkers and trenches, and they were not finally dislodged by the Marines until the following afternoon.

### Second night, 25/26 July 1953

At 08:20 on the morning of 25 July, the PVA again assaulted the Marines on Hill 119 in company strength, but were soon halted by American artillery and mortar fire, which inflicted heavy losses; skirmishing continued for the remainder of the day. While no major assaults against Hill 111 occurred, a heavy PVA barrage targeted the position at 11:00. F9F Panthers provided air support to the Marines throughout the day, while American tanks continued to engage PVA targets in support of the defenders on Hill 111 and Boulder City. Finally, at 13:35, the last of the PVA infantry were forced off the forward slopes of Boulder City by the Marines. PVA casualties were estimated by the Americans to have included another 75 killed and 425 wounded. The PVA continued to heavily shell the American positions, and by late afternoon, 13,500 mortar and artillery rounds had fallen on the sector held by 7th Marine Regiment. The Americans fired many counter-battery missions in response, firing 36,794 rounds. The ongoing relief of the 7th Marine Regiment continued throughout the day. Meanwhile, the Australian positions on the Hook were also heavily shelled throughout the day, forcing many of the defenders underground into the network of tunnels then being extended by a team of New Zealand sappers.

Realising that they had only faced a series of probes the previous night, rather than a major attack, and as these actions may have been in preparation for a heavier attack, a vigorous defence was subsequently prepared by the Australians with the reserve companies moved into blocking positions to strengthen the forward defences. The defenders endured steady shelling and harassing fire, while after dark, the Hook was probed again, this time by a group of about 20 PVA. The force was subsequently engaged by an Australian standing patrol from D Company at 21:00, and forced to withdraw, leaving behind one dead at a cost of one Australian killed and one wounded. At 21:20, the PVA fire became more intense, and a heavy blow was launched by the PVA against the Marines on Hill 119 shortly after. Beginning at 21:30, elements of the 1st and 7th Marines were attacked by two PVA companies. A heavy concentration by the entire US I Corps artillery was fired in response, and the PVA were forced to withdraw. At 23:00, the PVA shelling intensified to 30 rounds per minute, and was followed 15 minutes later by another determined charge by PVA infantry against the Marines on the left flank on Hill 111 and Boulder City during a furious attack. The Australian positions were not directly attacked during the night, although C Company engaged the PVA in no-man's land sporadically at long range in support of the Americans. As on the previous night, 3 RAR was not attacked. In total, more than 4,200 mortar and artillery rounds were fired by the PVA at 2 RAR during the night, and three Australians were killed and nine wounded.

In contrast, the Marines were more heavily engaged, with the fighting occurring at close quarters for more than an hour before they repelled their attackers and counter-attacked. An Australian bunker between the Marines on Hill 111 and C Company, 2 RAR on Hill 121 was also the scene of heavy fighting, after the PVA penetrated the undefended space between the two positions. Manned by just six Australians under the command of Lance Corporal Kenneth Crockford, the position was attacked by the PVA simultaneously from several sides following a determined charge at 23:40. During bitter hand-to-hand fighting in the trenches around the bunker, the under-strength Australian section ejected the PVA and prevented them from advancing any further. They then directed artillery fire onto their position to break up subsequent attacks. Further PVA probes were launched against Hills 111 and 119 in the early hours of 26 July, and they succeeded in temporarily seizing parts of the American trench line. Between 01:30 and 03:00, heavy fighting continued before the PVA were driven from the position by the Marines. Meanwhile, Wilton ordered D Company, 3 RAR to move across to occupy the position behind B Company, 2 RAR to support the Marines if required, while at 02:18, he placed A Company, 1 DLI on five-minutes notice to move to another blocking position. American casualties were 19 killed and 125 wounded, while PVA losses included 30 men counted dead, and another 84 estimated to have been killed and 310 wounded.

The 2 RAR Machine Gun Platoon on Hill 111 again found itself heavily engaged, suffering five badly wounded. The PVA had managed to establish an artillery forward observer on Hill 111 and Marine casualties were particularly heavy as a result. Eight critically injured Americans were subsequently evacuated through 2 RAR for urgent medical treatment. Small-arms fire continued to be exchanged between the Marines and the PVA for the next two hours, only subsiding by 03:00, with the Marines finally driving out the PVA. D Company, 3 RAR was subsequently released, and it returned to battalion's main defensive position. The Australian outpost section also succeeded in holding through the night, and the following morning, they found 35 PVA dead around their positions. During the fighting, Crockford had repeatedly exposed himself to PVA fire, and had even run across no-man's land to provide situation reports to the Marine command post on Hill 111. He was later awarded the Military Medal for his actions. By dawn, the only activity in front of the Hook was PVA stretcher bearers collecting their wounded, who were subsequently allowed to do so unmolested by the Australians. In the 1st Marine Division's sector, the fighting had also ceased, while small groups of PVA moved to reinforce their positions and were engaged with rifle and machine-gun fire.

As with the first night, indirect fire had again played a crucial role in the defence, with the New Zealand gunners firing another 5,700 rounds (out of a divisional total of 9,500 rounds) in support of the Australians and the Marines. Dug-in to the east, 16 RNZA had been forced to fire with minimum crest clearance over the Australian lines to bring effective fire to bear on the assaulting PVA from their 25-pounders. Using both variable-time proximity and time-set fuses, the New Zealand gunners used air bursts to break up the PVA assaults, causing heavy casualties. Despite the risk of causing casualties among their own soldiers, no serious casualties were incurred by the Australians, although one suffered a broken shoulder after a brass nose cone from a faulty time-of-flight fused shell exploded over his position. High explosive was also provided by C Company's 60 mm mortar, which operated against the PVA in no-man's land despite being exposed and unprotected from fire, while the mortars also provided battlefield illumination, which had allowed the Australian riflemen and machine gunners to bring accurate fire to bear on the PVA crossing 2 RAR's front to attack Hills 111 and 121. The PVA had suffered heavily during the fighting, with over 300 dead counted in front of Hill 111 alone. Throughout the following day, the Australians observed a steady stream of PVA casualties evacuating Hill 111 and crossing the paddy fields on the left flank. Later, a group of 20 PVA had also attempted to withdraw, but were engaged by the 2 RAR Anti-Tank Platoon, resulting in at least six casualties. In the area held by the 1st Marine Division, PVA shelling continued sporadically, while at 13:30, the 1st Marine Regiment assumed operational control of the right sector.

## Aftermath

### Casualties

The battle illustrated the power of concentrated artillery fire and the wastefulness of massed attacks by infantry against modern firepower. Hundreds of PVA dead lay in front of the UN positions, with the valley floor "almost covered with dead Chinese". Wilton later recounted that on "the approaches to 2 RAR, the bodies literally carpeted the ground sometimes two deep". Later, PVA casualties numbered an estimated 2,000 to 3,000 killed according to UN sources, with the majority of them inflicted by the New Zealand gunners. However, according to a Chinese source, the total casualties of PVA 46th Army were only at 886 men for all battles occurred from 24 June to 27 July. At least nine PVA battalions were believed to have been involved in the attacks. The fighting between 24 and 26 July had cost the Australians five killed and 24 wounded, while during the previous two weeks on the Hook, 2 RAR had lost 17 men killed and 31 wounded. It had been a bitter struggle to the very end, and as a testimony to the ferocity of the fighting, the Royal Australian Regiment was subsequently granted the battle honour "The Samichon". Many Australians were later awarded bravery decorations for their actions. The New Zealand gunners had played a crucial role in stemming the PVA assault, and during these final actions, the commander of 163 Battery, 16 RNZA—Major James Spence—had positioned himself well-forward to effectively co-ordinate the indirect fires of his guns. Spence was subsequently awarded the Military Cross, while a member of his tactical party, Gunner Arthur Bolton, was later Mentioned in Despatches. In total, over the three nights, more than 23,000 rounds were fired by the Commonwealth Divisional Artillery.

During the final month of the war, heavy fighting had occurred across the central and eastern fronts, yet in the Commonwealth sector itself, the only PVA attacks had been made against 2 RAR holding the Hook on the nights of 24–25 and 25–26 July. The action was part of a larger attack against the 1st Marine Division, with only diversionary assaults mounted against the Australians. 1st Commonwealth Division intelligence staff believed that the PVA had been attempting to make a breakthrough to the Imjin River along the divisional boundary to turn the 1st Marine Division's flank, yet with well-coordinated indirect fire from the divisional artillery and support from the British tanks, 2 RAR had been able to successfully thwart both assaults. Meanwhile, the Marines had endured the brunt of a division-sized attack, repelling the PVA onslaught for the loss of 43 killed and 316 wounded over the two nights; total Marine casualties for July included 181 killed and 1,430 wounded. Indeed, with the Chinese determined to gain local territorial advantage prior to signing the ceasefire, the UN Command had suffered 65,000 casualties during the final three months of the war, while the PVA lost at least 135,000.

### Subsequent operations

On 26 July, Wilton had ordered Lieutenant Colonel Peter Jeffreys to prepare a counter-attack by 1 DLI to recover some of the ground lost to the PVA the night before, but after preparatory fire failed to clear the PVA from the objective, the assault was cancelled. The PVA subsequently made another attempt against the Marines on Hill 119 on the night of 26/27 July, but it lacked the weight of those of the previous nights, and was easily repelled. In a final attempt to capture Boulder City, at 21:30, a PVA platoon had advanced on the wire at Hill 119, defended by Company E, 2nd Battalion, 1st Marines. Just after midnight, another platoon-sized PVA assault was also halted by the Marines. At 00:45 a PVA platoon probed the Marines on Hill 111, yet after an hour and twenty minutes it was also checked. Meanwhile, despite the clashes nearby on Hill 111 the Australians suffered no more casualties. The Armistice Agreement was subsequently signed at 10:00 on 27 July with a ceasefire coming into effect at 22:00. Sporadic fighting continued, and the New Zealand gunners fired several counter-battery tasks, engaging several PVA guns. The Commonwealth Divisional Artillery fired 1,300 rounds during the day; by evening, the front was largely silent. In the last four hours of the war, the PVA fired 44,000 artillery rounds into the US Eighth Army positions, although none against the 1st Commonwealth Division. No further attacks occurred, and the ceasefire came into effect at 22:00. The following day, some soldiers from both sides moved forward into no-man's land to exchange greetings, although relatively few Australians did so, and the Marines were under orders not to fraternise or communicate with the Chinese.

With the war over, both sides were required to withdraw 2 kilometres (1.2 mi) within 72 hours to create the 4-kilometre (2.5 mi) Korean Demilitarised Zone, and preparations began to hastily evacuate the forward positions. During August and September, sappers from the 1st Commonwealth Division were subsequently engaged clearing minefields and demolishing many of their former defended localities and field defences, while new battle positions were established to the rear. A similar process occurred across the entire front. Meanwhile, under the terms of the agreement, all prisoners who wished to be repatriated were to be returned, and 12,773 UN and 75,000 Chinese and North Korean prisoners were subsequently exchanged during this period, including 21 Australians and one New Zealander. The period that followed proved uneventful, yet the UN forces were required to maintain combat readiness and the ability to react quickly in case the North Koreans violated the ceasefire. In April 1954, 2 RAR returned to Australia and were replaced by 1 RAR, which remained in South Korea until March 1956. In September 1954, 3 RAR finally returned to Australia after four years of continuous service in Korea and five years before that in Japan. British Commonwealth forces remained in Korea until they were finally withdrawn in August 1957. Meanwhile, the last PVA elements did not leave Korea until 1958.

Korean War battle

Battles and operations of the Korean War in 1953

Battles of the Korean War involving Australia

Battles of the Korean War involving China

Battles of the Korean War involving New Zealand

Battles of the Korean War involving the United Kingdom

Battles of the Korean War involving the United States

United States Marine Corps in the Korean War