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Jesus Christ Superstar (film)
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Jesus Christ Superstar
Theatrical release poster
Directed by
Norman Jewison
Produced by
Norman Jewison
Robert Stigwood
Screenplay by
Melvyn Bragg
Norman Jewison
Based on
Jesus Christ Superstar
by Tim Rice
Starring
Ted Neeley
Carl Anderson
Yvonne Elliman
Barry Dennen
Music by
Andrew Lloyd Webber
Cinematography
Douglas Slocombe
Edited by
Antony Gibbs
Distributed by
Universal Pictures
Release date
August 15, 1973 (1973-08-15)
Running time
106 minutes[1]
Country
United States
Language
English
Budget
$3.5 million (estimated)[2]
Box office
$24.5 million[3]
Jesus Christ Superstar is a 1973 American musical drama film directed by Norman Jewison and co-written by Jewison and Melvyn Bragg based on the Andrew Lloyd Webber/Tim Rice rock opera of the same name. The film, featuring a cast of Ted Neeley, Carl Anderson, Yvonne Elliman, Barry Dennen, Bob Bingham, and Kurt Yaghjian, centers on the conflict between Judas and Jesus[4] during the week before the crucifixion of Jesus.
Neeley and Anderson were nominated for two Golden Globe Awards in 1974 for their portrayals of Jesus and Judas, respectively. Although it attracted criticism from some religious groups, reviews for the film were positive.[5]
Contents
[hide]
1 Plot
2 Cast
3 Musical numbers
4 Production
4.1 Development
4.2 Casting
4.3 Filming
4.4 Alterations
5 Reception
5.1 Box office
5.2 Critical response
6 Soundtrack
7 Remakes and related productions
8 See also
9 References
10 External links
Plot[edit]
The film is framed as a group of performers who travel to the desert to re-enact the Passion of Christ. The film begins with them arriving on a bus, assembling their props and getting into costume. One of the group is surrounded by the others, puts on a white robe and emerges as Jesus ("Overture").
This story begins with Judas (Anderson), who is worried about Jesus' popularity; he is being hailed as the Son of God, but Judas feels he is just a man who is beginning to believe his own propaganda and fears the consequences of their growing movement ("Heaven on Their Minds"). The other disciples badger Jesus for information about his plans for the future, but Jesus will not give them any ("What's the Buzz?"). Judas' arrival and subsequent declaration that Jesus should not associate with Mary dampens the mood ("Strange Thing Mystifying"). Angrily, Jesus tells Judas that he should leave Mary alone, because his slate is not clean. He then accuses all the apostles of not caring about him. That night at the Temple, Caiaphas is worried that the people will crown Jesus as king, which the Romans will take for an uprising. Annas tries to allay his fears, but he finally sees Caiaphas' point and suggests that he convene the council and explain his fears to them; Caiaphas agrees ("Then We Are Decided"). As Jesus and his apostles settle for the night, Mary soothes him with some expensive ointment, but Judas says that the money spent should have been given to the poor. Jesus rebukes him again, telling him that the poor will be there always but Jesus will not ("Everything's Alright").
The next day at the Temple of Jerusalem, the council of the priests discuss their fears about Jesus. Caiaphas tells them that there is only one solution: like John the Baptist, Jesus must be executed for the sake of the nation ("This Jesus Must Die"). As Jesus and his followers joyfully arrive in Jerusalem, Caiaphas orders Jesus to disband the crowd for fear of a riot. Jesus refuses and speaks to the crowd instead ("Hosanna"). Later, the apostle Simon Zealotes (Marshall) and a crowd of followers voice their admiration for Jesus ("Simon Zealotes"). Jesus appreciates this, but becomes worried when Simon suggests directing the crowd towards an uprising against their Roman occupiers. Jesus sadly dismisses this suggestion, saying that they do not understand his true purpose ("Poor Jerusalem").
Pilate, the Roman governor of Judea, reveals that he has dreamed about a Galilean man (Jesus) and that he will be blamed for this man's death ("Pilate's Dream"). Jesus and his followers arrive at the temple, which has been taken over by money changers and prostitutes ("The Temple"). To Judas' horror and as the priests watch in the background, a furious Jesus destroys the stalls and forces them to leave. Jesus wanders alone outside the city, but is surrounded by a crowd of lepers, all wanting to be healed. Jesus tries to heal as many of them as possible, but is overwhelmed by the sheer numbers and eventually gives up, screaming at them to leave him alone. Mary comforts Jesus and Jesus goes to sleep. Mary loves Jesus, but is confused because he is so unlike any other man she has met ("I Don't Know How to Love Him"). Judas goes to the priests and expresses his concerns, but he is worried about the consequences of betraying Jesus ("Damned for All Time"). The priests take advantage of his doubts and offer him money if he will lead them to Jesus. Judas initially refuses, but Caiaphas and Annas win him over by reminding him that he could use the money to help the poor. Judas reveals that Jesus will be at the Garden of Gethsemene on Thursday night ("Blood Money").
At the end of the Gethsemane scene, the director interrupts the narration to insert a series of details from the Grünewald's painting The Crucifixion (c. 1512–1516)[6]
At the Last Supper (set outdoors in a garden setting during the day), Jesus reveals that he knows Peter (Toubus) will deny him and Judas will betray him. A bitter argument between Jesus and Judas ensues, in which Judas berates Jesus for destroying their hopes and ideals and threatens to ruin Jesus' ambition by staying there without helping him to reach the Glory; Jesus tells Judas to leave and Judas finally runs off ("The Last Supper"). As the apostles fall asleep, Jesus goes to Gethsemane to pray about his imminent death and reluctantly agrees to go forward with God's plan ("Gethsemane [I Only Want to Say]"). Jesus waits for Judas, who arrives, accompanied by guards, and betrays him with a kiss. The disciples offer to fight the guards, but Jesus will not allow it. Jesus is taken to Caiaphas' house, found guilty of blasphemy and sent to Pilate ("The Arrest"). Peter, meanwhile, fearfully denies Jesus three times after being accused of being one of Jesus' followers ("Peter's Denial"). Jesus is taken to Pilate's house, where the governor, unaware that Jesus is the man from his dream, mocks him. Since he does not deal with Jews, Pilate sends him to Herod ("Pilate and Christ"). The flamboyant King Herod is excited to finally meet Jesus, for he has heard the hype. He tries to persuade Jesus to perform various miracles. When Jesus refuses to answer, Herod orders the guards to take him back to Pilate ("Herod's Song [Try It and See]").
The apostles and Mary Magdalene remember how things began and wish that they had not gotten so out of hand ("Could We Start Again Please?"). Jesus is flung into a cell, where he is seen by Judas, who runs to tell the priests that he regrets his part in the arrest. He hurls his money to the ground and curses at the priests before running into the desert. Filled with regret for betraying Jesus, he blames God for his woes by giving him the role of the betrayor and hangs himself ("Judas' Death"). Jesus is taken back to Pilate, who questions him; Herod is also present. Although he thinks Jesus is deluded, Pilate realizes that he has committed no actual crime and has Jesus scourged; Herod is gleeful at first but eventually sickened. Pilate's bemused indifference turns to a frenzy of confusion and anger, both at the crowd's irrational bloodthirstiness and Jesus' inexplicable resignation and refusal to defend himself. Pilate realizes he has no option but to have Jesus executed or the masses will grow violent ("Trial Before Pilate [Including the Thirty-Nine Lashes]"). After Pilate washes his hands of Jesus' fate, Jesus' appearance transforms, the heavens open, and a white-jumpsuit clad Judas descends on a silver cross. Judas laments that if Jesus had returned as the Messiah today, he would have been more popular and his message easier to spread. Judas also wonders what Jesus thinks of other religions' prophets. He ultimately wants to know if Jesus thinks he is who they say he is ("Superstar"). Judas' questions go unanswered, and Jesus is sent to die ("The Crucifixion"), with ominous, atonal music, with Jesus saying some of his final words before dying.
As the film ends, the performers, now out of costume, board their bus. Only the performers who had played Pilate, Mary Magdalene and Judas notice the actor who had played Jesus is missing. A shepherd and his flock cross the hillside beneath the empty cross ("John Nineteen Forty-One").
Cast[edit]
Ted Neeley as Jesus Christ
Carl Anderson as Judas Iscariot
Yvonne Elliman as Mary Magdalene
Barry Dennen as Pontius Pilate
Bob Bingham as Caiaphas
Kurt Yaghjian as Annas
Josh Mostel as King Herod
Philip Toubus as Peter
Larry Marshall as Simon Zealotes
Richard Orbach as John
Robert LuPone as James
Musical numbers[edit]
"Overture"
"Heaven on Their Minds"
"What's the Buzz?"
"Strange Thing Mystifying"
"Then We Are Decided"
"Everything's Alright"
"This Jesus Must Die"
"Hosanna"
"Simon Zealotes"
"Poor Jerusalem"
"Pilate's Dream"
"The Temple"
"Everything's Alright (Reprise)"
"I Don't Know How to Love Him"
"Damned for All Time"
"Blood Money"
"The Last Supper"
"Gethsemane (I Only Want to Say)"
"The Arrest"
"Peter's Denial"
"Pilate and Christ"
"Hosanna (Reprise)"
"King Herod's Song (Try It and See)"
"Could We Start Again Please?"
"Judas' Death"
"Trial Before Pilate (Including the 39 Lashes)"
"Superstar"
"The Crucifixion"
"John 19: 41"
Production[edit]
Yvonne Elliman and Ted Neeley as Mary Magdalene and Jesus.
Development[edit]
During filming of Fiddler on the Roof, Barry Dennen, who played Pilate on the concept album, suggested to Norman Jewison that he should direct Jesus Christ Superstar as a film. After hearing the album, Jewison agreed.
Casting[edit]
The cast consisted mostly of actors from the Broadway show, with Ted Neeley and Carl Anderson starring as Jesus and Judas respectively. Neeley had played a reporter and a leper in the Broadway version, and understudied the role of Jesus. Likewise, Anderson understudied Judas, but took over the role on Broadway and Los Angeles when Ben Vereen fell ill. Along with Dennen, Yvonne Elliman (Mary Magdalene), and Bob Bingham (Caiaphas) reprised their Broadway roles in the film (Elliman, like Dennen, had also appeared on the original concept album). Originally, Jewison wanted Ian Gillan, who played Jesus on the concept album, to reprise the role for the film, but Gillan turned down the offer, deciding that he would please fans more by touring with Deep Purple. The producers also considered Micky Dolenz (from The Monkees) and David Cassidy to play Jesus before deciding to go with Neeley.[7] "With the exception of Barry Dennen who played Pontius Pilate and Josh Mostel who played King Herod — for everybody else, it was their first time on camera and first major motion picture. It was a learning process throughout."[8]
Filming[edit]
The film was shot in Israel (primarily at the ruins of Avdat, Beit Guvrin National Park, and Beit She'an) and other Middle Eastern locations in 1972.[9]
Alterations[edit]
Like the stage show, the film gave rise to controversy even with changes made to the script. Some of the lyrics were changed for the film. The reprise of "Everything's Alright", sung before the song "I Don't Know How to Love Him" by Mary to Jesus, was abridged, leaving only the closing lyric "Close your eyes, close your eyes and relax, think of nothing tonight" intact, while the previous lyrics were omitted, including Jesus's "And I think I shall sleep well tonight.". In a scene where a group of beggars/lepers overwhelms Jesus, "Heal yourselves!" was changed to "Leave me alone!", and in "Judas' Death", Caiaphas' line "What you have done will be the saving of Israel" was changed to "What you have done will be the saving of everyone."
The lyrics of "Trial Before Pilate" contain some notable alterations and additions. Jesus's line "There may be a kingdom for me somewhere else, if I only knew" is changed to "if you only knew." The film version also gives Pilate more lines (first used in the original Broadway production) in which he addresses the mob with contempt when they invoke the name of Caesar: "Well, this is new!/Respect for Caesar?/'Till now this has been noticeably lacking!/Who is this Jesus? Why is he different?/You Jews produce messiahs by the sackful!" and "Behold the man/Behold your shattered king/You hypocrites!/You hate us more than him!" These lines for Pilate have since been in every production of the show.
The soundtrack contains two songs that are not on the original concept album. "Then We Are Decided", in which the troubles and fears of Annas and Caiaphas regarding Jesus are better developed, is original to the film. The soundtrack also retains the song "Could We Start Again Please?" which had been added to the Broadway show. Most of these changes have not been espoused by later productions and recordings, although most productions tend to retain the expanded version of "Trial Before Pilate".
Reception[edit]
Box office[edit]
Jesus Christ Superstar grossed $24.5 million at the box office[3] and earned North American rentals of $10.8 million in 1973,[10] against an estimated production budget of $3.5 million.[2]
Critical response[edit]
On review aggregator website Rotten Tomatoes, the film has an approval rating of 55% based on 22 reviews, with an average rating of 6/10.[11]
Years later the film was still popular, winning a 2012 Huffington Post competition for "Best Jesus Movie."[12]
Jewison was able to show the film to Pope Paul VI, "who openly loved what he saw. He said, 'Mr. Jewison, not only do I appreciate your beautiful rock opera film, I believe it will bring more people around the world to Christianity, than anything ever has before.'"[2] For the Pope, Mary Magdalene's song "I Do not Know How to Love Him" [sic] "had an inspired beauty."[13] Nevertheless, the film as well as the musical were criticized by some religious groups.[5] A New York Times review said, "When the stage production opened in October, 1971, it was criticized not only by some Jews as anti-Semitic, but also by some Catholics and Protestants as blasphemous in its portrayal of Jesus as a young man who might even be interested in sex."[14]
Tim Rice said Jesus was seen through Judas' eyes as a mere human being. Some Christians[who?] found this remark, as well as the fact that the musical did not show the resurrection, to be blasphemous. While the actual resurrection was not shown, the closing scene of the movie subtly alludes to the resurrection (though, according to Jewison's commentary on the DVD release, the scene was not planned this way).[15] Some found Judas too sympathetic; in the film, it states that he wants to give the thirty pieces of silver to the poor, which, although Biblical, leaves out his ulterior motives (see also "Everything's Alright").[16] Biblical purists pointed out a small number of deviations from biblical text as additional concerns; for example, Pilate himself having the dream instead of his wife, and Catholics argue the line "for all you care, this bread could be my body" is too Protestant in theology, although Jesus does say in the next lines, "This is my blood you drink/This is my body you eat".
In the 1980 book The Golden Turkey Awards by Michael Medved and Harry Medved, Neeley was given an award for "The Worst Performance by an Actor as Jesus Christ",[17] yet Neeley and Anderson received Golden Globe nominations for their portrayals of Jesus and Judas in the film version and had subsequently gone on to recreate the roles in numerous national stage tours from 1993-2014 (2004 for Anderson, as he died of leukemia).
The film is recognized by American Film Institute in these lists:
2004: AFI's 100 Years...100 Songs:
"I Don't Know How to Love Him" – Nominated[18]
2006: AFI's 100 Years...100 Cheers – Nominated[19]
Soundtrack[edit]
The soundtrack for the film was released on vinyl by MCA Records in 1973.[20][21] It was re-released on CD in 1993[22] and reissued in 1998 for its 25th Anniversary.[23][24]
Side one
"Overture" – 5:26
"Heaven on Their Minds" – 4:22
"What's the Buzz/Strange Thing Mystifying" – 4:26
"Then We Are Decided" – 2:32
"Everything's Alright" – 3:36
"This Jesus Must Die" – 3:45
Side two
"Hosanna" – 2:32
"Simon Zealotes/Poor Jerusalem" – 6:28
"Pilate's Dream" – 1:45
"The Temple" – 5:26
"Everything's Alright (reprise)"/"I Don't Know How to Love Him" – 3:55
"Damned for All Time/Blood Money" – 4:37
Side three
"The Last Supper" – 7:12
"Gethsemane (I Only Want to Say)" – 5:39
"The Arrest" – 3:15
"Peter's Denial" – 1:26
"Pilate and Christ"/"Hosanna (reprise)" – 2:57
"King Herod's Song (Try it and See)" – 3:13
Side four
"Could We Start Again Please?" – 2:44
"Judas' Death" – 4:38
"Trial Before Pilate (Including the 39 Lashes)" – 6:47
"Superstar" – 3:56
"The Crucifixion" – 2:40
"John 19:41" – 2:20
The soundtrack for the film was released in the USA on vinyl by MCA Records (MCA 2-11000) in 1973, as: JESUS CHRIST SUPERSTAR / The Original Motion Picture Sound Track Album.
Remakes and related productions[edit]
Another film version was made for video in 2000, starring Glenn Carter as Jesus, Jérôme Pradon as Judas, and Reneé Castle as Mary Magdalene. It was shot entirely on indoor sets including graffiti on the wall. Composer Webber has stated in the making-of documentary that this was the version closest to what he had originally envisioned for the project. He chose Gale Edwards to direct after seeing her interpretation of the musical in Dublin, which featured a more modernistic and sinister approach than the original stage productions.
In a 2008 interview with Variety magazine, film producer Marc Platt stated that he was in discussions with several filmmakers for a remake of Jesus Christ Superstar.[25]
In 2013, a Blu-ray "40th Anniversary" edition of the film was released, featuring commentary from the director and Ted Neeley, an interview with Tim Rice, a photo gallery and a clip of the original trailer.[26]
In 2015, Neeley announced the upcoming release a documentary entitled "SUPERSTARS: The Making of and Reunion of the film 'Jesus Christ Superstar'" about the production of the film.[27]
See also[edit]
List of American films of 1973
References[edit]
Jump up ^ "JESUS CHRIST SUPERSTAR (A)". British Board of Film Classification. July 17, 1973. Retrieved May 15, 2014.
^ Jump up to: a b c Jesus Christ Superstar at the TCM Movie Database
^ Jump up to: a b "Jesus Christ Superstar (1973)". The Numbers. Nash Information Services, LLC. Retrieved May 27, 2012.
Jump up ^ Jewison, Norman (2004). This Terrible Business Has Been Good to Me. An Autobiography. Toronto: Key Porter Books. p. 164. ISBN 1-55263211-3. ISBN 978-1-552-63211-6.
^ Jump up to: a b Forster, Arnold; Epstein, Benjamin (1974). The New Anti-Semitism. New York: McGraw-Hill Book Company. pp. 91–101.
Jump up ^ Coates, Paul (2017) [2003]. Cinema, Religion and the Romantic Legacy. Taylor & Francis. p. 92. ISBN 1-35195153-X. ISBN 978-1-351-95153-1. It is thus surprisingly and unexpectedly powerful when his Gethsemane plea for the cup to pass from him issues in a rapid, proleptic montage of traditional Christian images of the Crucifixion, many of them drawn from one of the most fearsome of such paintings, the Isenheim Altar of Matthias Grünewald.
Jump up ^ Campbell, Richard H.; Pitts, Michael R. (1981). The Bible On Film. A Checklist, 1897-1980. Metuchen, New Jersey: Scarecrow Press. p. 169. ISBN 0-81081473-0. ISBN 978-0-810-81473-8.
Jump up ^ Martinfield, Sean (August 20, 2013). "A Conversation With Ted Neeley, Hollywood's 'Jesus Christ Superstar'". HuffPost. Retrieved March 28, 2018.
Jump up ^ "Jesus Christ Superstar (1973). Filming & Production". IMDb.
Jump up ^ "Big Rental Films of 1973", Variety, January 9, 1974, p. 19.
Jump up ^ "Jesus Christ Superstar (1973)". Rotten Tomatoes. Fandango. Retrieved February 24, 2018.
Jump up ^ "In The Category Of Best Jesus Movie The Winner Is." March 10, 2012.
Jump up ^ Pepper, Curtis Bill (April 10, 1977). "A Day in the Life of the Pope". The New York Times. Retrieved April 17, 2018.
Jump up ^ Greenhouse, Linda (August 8, 1973). "SUPERSTAR' FILM RENEWS DISPUTES:Jewish Groups Say Opening Could Stir Anti-Semitism Reasons Given Company Issues Statement". The New York Times. Archived from the original on February 12, 2017. Retrieved April 11, 2018.
Jump up ^ Spoilers section on IMDb.
Jump up ^ Hebron, Carol A. (2016). Judas Iscariot: Damned or Redeemed. A Critical Examination of the Portrayal of Judas in Jesus Films (1902-2014). London: Bloomsbury Publishing. p. 160. ISBN 0-5676-6830-4.
Jump up ^ Harry Medved and Michael Medved, The golden turkey awards: nominees and winners, the worst achievements in Hollywood history, Putnam, 1980, p. 95.
Jump up ^ "AFI's 100 Years...100 Songs Nominees" (PDF). Retrieved 2016-08-14.
Jump up ^ "AFI's 100 Years...100 Cheers Nominees" (PDF). Retrieved 2016-08-14.
Jump up ^ Jesus Christ Superstar [MCA Film Soundtrack] at AllMusic.
Jump up ^ Jesus Christ Superstar (The Original Motion Picture Sound Track Album) at Discogs (list of releases).
Jump up ^ Jesus Christ Superstar (The Original Motion Picture Sound Track Album). 1993 CD at Discogs.
Jump up ^ Jesus Christ Superstar [Original Motion Picture Soundtrack 25th Anniversary Reissue] at AllMusic.
Jump up ^ Jesus Christ Superstar (The Original Motion Picture Sound Track Album). Reissue, Remastered in 1998 at Discogs.
Jump up ^ Gans, Andrew (July 15, 2011). "Wicked Film and "Jesus Christ Superstar" Remake on Platt's Plate". Playbill. Retrieved January 18, 2017.
Jump up ^ "Jesus Christ Superstar Blu-ray".
Jump up ^ "Ted Neeley - official site of musician and actor from Jesus Christ Superstar - Home".
External links[edit]
Wikimedia Commons has media related to Jesus Christ Superstar (film).
Jesus Christ Superstar on IMDb
Jesus Christ Superstar at the TCM Movie Database
Jesus Christ Superstar at AllMovie
[show]
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Jesus Christ Superstar
Music by Andrew Lloyd Webber
Book and Lyrics by Tim Rice
Songs
"Everything's Alright"
"This Jesus Must Die"
"I Don't Know How to Love Him"
"Superstar"
Versions
Concept album
Film
Cast recordings
1972 and 1992 Australian cast
1972 Swedish cast
1996 London cast
Related
Jesus Christ Superstar Live in Concert (2018)
Superstar
[show]
Andrew Lloyd Webber and Tim Rice
[show]
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Musicals by Andrew Lloyd Webber and Tim Rice
Musicals
The Likes of Us
Joseph and the Amazing Technicolor Dreamcoat
Jesus Christ Superstar
Evita
Cricket
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Films
Jesus Christ Superstar
Evita
Joseph and the Amazing Technicolor Dreamcoat
Albums
Jesus Christ Superstar
Evita (1976 concept album)
Evita (1996 film soundtrack)
Songs
"Any Dream Will Do"
"Close Every Door"
"Everything's Alright"
"This Jesus Must Die"
"I Don't Know How to Love Him"
"Superstar"
"Oh What a Circus"
"Another Suitcase in Another Hall"
"Don't Cry for Me Argentina"
"You Must Love Me"
Related television
Any Dream Will Do
Superstar
When Joseph Met Maria
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Chess (1984)
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Tycoon (1992)
Beauty and the Beast (1994)
Heathcliff (1995)
The Lion King (1997)
King David (1997)
Aida (1998)
Disney's Aladdin: A Musical Spectacular (2003)
Aladdin (2011)
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From Here to Eternity (2013)
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1984 (1981)
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Films
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The Road to El Dorado (2000)
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Jock the Hero Dog (2011)
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Aladdin (2019)
The Lion King (2019)
Songs
"Any Dream Will Do"
"Close Every Door"
"Everything's Alright"
"This Jesus Must Die"
"I Don't Know How to Love Him"
"Superstar"
"Oh What a Circus"
"Another Suitcase in Another Hall"
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"A Winter's Tale"
"All Time High"
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"One Jump Ahead"
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"Prince Ali"
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"Be Prepared"
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"The Madness of King Scar"
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"If I Can't Love Her"
"A Change in Me"
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"Evermore"
Other works
The Guinness Book of British Hit Singles (1977)
Friday Night, Saturday Morning (1979)
Sixty-Six Books (2011)
Related articles
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Elaine Paige
Elton John
Alan Menken
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Films directed by Norman Jewison
40 Pounds of Trouble (1962)
The Thrill of It All (1963)
Send Me No Flowers (1964)
The Art of Love (1965)
The Cincinnati Kid (1965)
The Russians Are Coming, the Russians Are Coming (1966)
In the Heat of the Night (1967)
The Thomas Crown Affair (1968)
Gaily, Gaily (1969)
Fiddler on the Roof (1971)
Jesus Christ Superstar (1973)
Rollerball (1975)
F.I.S.T. (1978)
...And Justice for All (1979)
Best Friends (1982)
A Soldier's Story (1984)
Agnes of God (1985)
Moonstruck (1987)
In Country (1989)
Other People's Money (1991)
Only You (1994)
Bogus (1996)
The Hurricane (1999)
Dinner with Friends (2001)
The Statement (2003)
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Pump Up the Volume (song)
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"Pump Up the Volume"
Single by M|A|R|R|S
A-side
"Anitina (The First Time I See She Dance)"
Released
3 August 1987 (1987-08-03)
Format
7"
12"
CD
Recorded
1987
Genre
Acid house
hip house
alternative dance
Length
4:08 (7" version)
6:28 (12" version)
Label
4AD
4th & B'way
Island
PolyGram
Songwriter(s)
Martyn Young
Steve Young
Producer(s)
John Fryer
Martyn Young
Audio sample
file
help
"Pump Up the Volume" is the only single by British recording act M|A|R|R|S. Recorded and released in 1987, it was a number-one hit in many countries and is regarded as a significant milestone in the development of British acid house music[1] and music sampling. The song derives its title directly from a lyrical sample from "I Know You Got Soul", a hit single by labelmates Eric B. & Rakim, released months prior in that same year.
The single was the product of an uneasy collaboration between electronic group Colourbox and alternative rock band A.R. Kane, two groups signed to the independent label 4AD. The link-up was suggested by label founder Ivo Watts-Russell after the two groups had independently sounded him out about the possibility of releasing a commercially oriented dance record, inspired by the American house music that was starting to make an impact on the UK chart. When the M|A|R|R|S project was first released early in 1987, the popularity of the style of the song had already started to grow.
Contents
[hide]
1 Background
2 Production
3 Influence
3.1 Pulttibois
4 Samples used
5 Track listings
5.1 4AD
5.2 4th & Broadway
5.3 Bright Lights, Big City soundtrack
6 Charts and sales
6.1 Peak positions
6.2 End of year charts
6.3 Certifications
6.4 Chart successions
7 Notes
8 External links
9 References
9.1 Notations
9.2 Footnotes
Background[edit]
A.R. Kane had released an E.P. When You're Sad on One Little Indian Records in late 1986. Frustrated by the lack of support from One Little Indian, Alex Ayuli of the band approached 4AD owner, Ivo Watts-Russell to see if they would release a record on his label.[2] Derek Birkett, the owner of One Little Indian, was under the impression that 4AD were trying to poach his band and along with label designer Paul White and Einar Örn Benediktsson from The Sugarcubes visited the 4AD offices in Alma Road to confront Watts-Russell.[2] Colin Wallace, a 4AD staff member, convened a team from the warehouse to support Watts-Russell. Despite a heated argument where a furious Birkett told Watts-Russell "You don't do that. You fucking stole my fucking band", A.R. Kane signed to 4AD for a one-off release.[2] Following the release of the Lolita EP they voiced their disappointment with One Little Indian who had failed to deliver on a promise that they could work with producer Adrian Sherwood. Watts-Russell suggested that they instead work with Martyn Young of Colourbox.[2]
Production[edit]
The collaboration between the two groups did not go entirely to plan. Once in the studio, the groups' different working methods and personalities failed to gel. Producer John Fryer found himself in the middle and unable to resolve the conflict between the two groups. The result was that instead of working together, the two groups ended up recording a track each, then turning it over to the other for additional input. Colourbox came up with "Pump Up the Volume", a percussion-led near-instrumental, featuring an Eric B. & Rakim sample which gave it its title, while A.R. Kane created the more deliberately arty "Anitina (The First Time I See She Dance)" in another studio. Colourbox then added a heavy drum-machine rhythm and effects to "Anitina" and A.R. Kane overdubbed some additional guitar to "Pump Up the Volume." The coup de grace, however, was the addition of scratch mix effects and samples by DJs Chris "C.J." Macintosh and Dave Dorrell. Colourbox told Watts-Russell that they didn't want "Anitina" on the b-side and wanted "Pump Up the Volume" released solely as a Colourbox track.[2] Watts-Russell over-ruled them, in part because of Young's notoriously slow work rate with the prospect of the track being held up for another 12 to 18 months, and released the track as M|A|R|R|S as originally planned.[2] This led to the relationship with the band collapsing and they never recorded for 4AD again.
The two tracks were released to United Kingdom dance clubs in July 1987, on an anonymous white label with no artist credit. "Pump Up the Volume" proved to be the more popular side and was the track more heavily promoted. 4AD released the 12" single (as, officially, a double A-side[3] on 24 August of that year. It entered the UK Singles Chart the following week at number 35, a strong initial showing for an unknown act, especially on 12" sales. However, what gave "Pump Up the Volume" its commercial edge was the remix released a week later. This remix became the best-known version of the track, transforming it by the addition of numerous samples which provided the record with additional hooks besides its oft-repeated title chant, such as samples of tracks by Public Enemy, Criminal Element Orchestra and The Bar-Kays being used. It was this remix, rather than the original, that was edited down to create the 7-inch version of the track, which began picking up radio play.
As the record climbed the charts, the single ran into legal difficulties. With "Pump Up the Volume" standing at number two, an injunction was obtained against it by pop music producers Stock Aitken Waterman (SAW), who objected to the use of a sample from their hit single "Roadblock". Distribution was held up for several days while negotiations took place, which resulted in an undertaking that overseas releases would not include the "Roadblock" sample. Dave Dorrell later stated that he believed SAW would never have noticed the highly distorted sample had he not rashly boasted about it in a radio interview. The offending article consisted of 7 seconds of an anonymous background voice moaning the single word "hey", involved no musical or melodic information, and could never be considered plagiarism in the literary sense. SAW member Pete Waterman wrote an open letter to the music press calling such things "wholesale theft". Some publications were quick to point out that Waterman was currently using the bassline from the Colonel Abrams song "Trapped" in his production of Rick Astley's "Never Gonna Give You Up", which was competing in close proximity to "Pump Up the Volume" in the pop charts. Observers suggested that SAW's motives had just as much to do with extending the run of "Never Gonna Give You Up" at the top of the chart. SAW could afford extensive legal resources and M|A|R|R|S stood little chance of a successful defence. Despite all this, "Pump Up the Volume" went on to spend two weeks at number one in October 1987 and was a chart hit in many other countries, receiving considerable airplay on American, Australian and European airwaves. While it was stripped from the official American release, the version containing the offending "Roadblock" sample was the version that the Australian charts credited. In America it was licensed to 4th & B'way Records, the original version contained several samples from 4th & B'way releases and were able to provide new samples for the American version which they received clearance for.[2]
Influence[edit]
As one of the first big British-made house hits, "Pump Up the Volume" marked a turning point in the popularity of the genre. Eric B. & Rakim's "Paid in Full", which had been released prior to the M|A|R|R|S track also hit the top 20 in November, both singles heavily borrowed from Coldcut's previous UK chart success "Say Kids What Time Is It?". This was a very rapid response, indeed, since "Pump Up the Volume" seemed to catch the record industry off-guard. It was not until February 1988, four months after "Pump Up the Volume" reached the top ten, that the floodgates truly opened. Like "Pump Up the Volume", many of the first major wave of British house hits were on independent labels. Not all of them displayed an obvious influence from M|A|R|R|S, though many did.
While Two Men, a Drum Machine and a Trumpet's "Tired of Getting Pushed Around", one of the first such hits, was principally just a dance groove with minimal use of samples, it was the sampling angle that made most impact on the public consciousness in the short term. Among the hits clearly following in M|A|R|R|S's footsteps were "Beat Dis" by Bomb the Bass, "Theme from S-Express" by S'Express, and "Doctorin' the House" by Coldcut featuring Yazz and the Plastic Population. These in turn spawned imitators from across Europe and the U.S. The sample montage craze would soon burn itself out, since many of the later records relied heavily on recycling the same samples already heard on the hits mentioned above. Litigation would also play its part and the adage "Where there's a hit—theres a writ" was coined as both house and hip hop artists underwent a period of being sued for using unlicensed samples in their recordings. The sampling style was also being parodied, notably by Star Turn on 45 (Pints), with their UK number 12 hit "Pump Up the Bitter",[4] and by Harry Enfield's "Loadsamoney" single (produced by a young William Orbit). Les Adams also released "Check This Out" under the LA Mix moniker—a record that replayed "Pump Up the Volume" and "This is a journey into sound" soundbites before a male voice yells, "Oh not again! Get off!" Tastes started to change and acid house started to dominate the charts.
M|A|R|R|S themselves never came close to recording again. A.R. Kane gave interviews to the music press in which they explained that while they were proud to have been part of M|A|R|R|S, it was not an experience they were keen to repeat. They were particularly unhappy at having their contribution to "Pump Up the Volume" all but removed from the track. Colourbox attempted to carry on using the name M|A|R|R|S, but were not willing to pay the £100,000 that A.R. Kane wanted for full rights to the name, and the project remained a one-off. Colourbox disbanded soon afterwards, leaving "Pump Up the Volume" as their last original work. A.R. Kane continued, releasing the critically acclaimed though commercially unsuccessful albums 69 and i. However, neither album contains a track that could be considered a successor to "Pump Up the Volume".
Disco Mix Club Records, a British DJ pool and remix service, sought permission to remix "Pump Up the Volume" for several years. After continual setbacks resulting from the uneasy M|A|R|R|S collaboration, the organization gave up and released its own version in 1995 under "Greed featuring Ricardo da Force."
"Pump Up the Volume" was used during the late 1980s and early 1990s as the theme for Univision's boxing series, Boxeo Budweiser.
Slant Magazine ranked the song 32nd in its 100 Greatest Dance Songs list in 2006, adding:
"M/A/R/R/S's "Pump Up the Volume," which took its title sample from an Erik B. & Rakim song, was a milestone in the world of sampling culture, snatching bits of Criminal Element Orchestra's "Put the Needle to the Record," old soul records (a few years before Josh Davis hit the dustbins), and Ofra Haza's "Im Nin Alu" (long before Kanye played his 45s at the wrong speed), just to name a few. A one-off collaboration between U.K. indie label 4AD's Colourbox and A.R. Kane and DJs C.J. Macintosh and Dave Dorrell, the track was a patently European interpretation of American house music and became the first big crossover U.K. house hit."[5]
In 2011, The Guardian featured the song on their A history of modern music: Dance.[6]
Pulttibois[edit]
In 1990, Pump Up the Volume became the theme song for the highly popular Finnish sketch comedy show Pulttibois. The song appeared in all the show's intros during the second and third season as well as occasionally playing over the credits. In the intro the stars of the show, Pirkka-Pekka Petelius and Aake Kalliala, dance and perform silly actions to the beat of the music while wearing suits against a red background. They also mouth the lyrics: "Brothers and sisters! Pump up the Volume!"
Samples used[edit]
This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (November 2009) (Learn how and when to remove this template message)
The table below is a select list of samples used in "Pump Up the Volume"; also listed is which versions of "Pump Up the Volume" the sample appears in. Due to the song's legal history, samples used in the different U.S. and UK versions vary.[7]
Sampled track[8]
Sampled portion[7]
Original UK version
U.S. version/12" remix[A]
UK radio edit
U.S. radio edit
Bonus Beats version
Original release
Afrika Bambaataa and James Brown, "Unity (Part Three - Nuclear Wildstyle)" Repeated vocal sample ("Ah...") Y Y Y Y N Unity, 1984 (12")
The Bar-Kays, "Holy Ghost" Drums, with moog (at the "put the needle..." part) Y Y Y Y Y Holy Ghost, 1978 (12")
James Brown, "Super Bad (Part One)" Vocal sample ("Watch me") Y N Y N N Super Bad, 1970 (12")
Tom Browne, "Funkin' for Jamaica (N.Y.)" Trumpet Y Y Y Y N Love Approach, 1980 (LP)
Choice M.C.'s and Fresh Gordon, "Gordy's Groove" Vocal sample ("Oh yeah") N Y N N Y Beat of the Street, 1985 (12")
Criminal Element Orchestra, "Put the Needle to the Record" Vocal sample ("Put the needle on the record when the drum beats go like this") Y Y Y Y N Put the Needle to the Record, 1987 (12")
Eric B. & Rakim, "I Know You Got Soul (a cappella version)" Vocal sample ("Pump up the volume, dance") Y Y Y Y N I Know You Got Soul, 1987 (12")
Fab 5 Freddy featuring Beeside, "Change le Beat" Beep effect and distorted vocal sample ("Ah") Y Y Y Y Y Street Music Material, 1984 (LP)
D.ST and Jalal Mansur Nuriddin, "Mean Machine"[B] Chanting ("Automatic, push-button, remote control; synthetic, genetics, command your soul.") Y N Y N N Mean Machine, 1984 (12")
Graham Central Station, "The Jam" Drums and repeated vocal samples ("Hu, ha") Y Y Y Y Y Ain't No 'Bout-a'Doubt It, 1975 (LP)
Jimmy Castor Bunch, "It's Just Begun" Vocal sample ("It's just begun") Y Y Y Y N It's Just Begun, 1972 (LP)
Kool & the Gang, "Jungle Jazz" Drums Y Y Y Y N Spirit of the Boogie, 1975 (LP)
George Kranz, "Din Daa Daa (Trommeltanz)" Vocal sample ("Din daa daa...") N Y N N N Din Daa Daa, 1983 (12")
Lovebug Starski and The Harlem World Crew, "Positive Life" Vocal sample ("That's right, dude, this gotta be the greatest record of the year/Check it out") Y N Y N N Positive Life, 1981 (12")
Trailer to the 1968 film Mars Needs Women Vocal sample ("Mars needs women") N Y N N Y
Montana Sextet, "Who Needs Enemies (With a Friend Like You)" Vocals Y N N N N Who Needs Enemies (With a Friend Like You), 1983 (LP)
Nuance, "Loveride" Vocal sample ("Oh") N Y N Y N Stop, Dance, Rap, Romance, 1985 (LP)
Original Concept, "Pump That Bass"[9] Vocal sample ("Pump that bass") Y Y Y Y N Bite'n My Stylee, 1986 (12")
Pleasure, "Celebrate the Good Things" Horn samples Y Y Y Y N Get to the Feeling, 1978 (LP)
Pressure Drop, "Rock the House (You'll Never Be)" Vocal sample ("Rock the house") Y Y N N N Rock the House (You'll Never Be), 1983 (12")
Public Enemy, "You're Gonna Get Yours (My 98 Oldsmobile)" Vocal sample ("You're gonna get yours") Y Y Y Y N Yo! Bum Rush the Show, 1987 (LP)
Run-DMC, "Here We Go (Live at the Funhouse)" Vocal sample ("Aw, yeah") Y Y N N N Here We Go, 1985 (12")
The Soul Children, "I Don't Know What This World Is Coming To" Vocal sample ("Brothers and sisters") Y Y Y Y N Wattstax: The Living Word, 1972 (LP)
Stock Aitken Waterman, "Roadblock (7" version)" Vocal sample ("Hey") by Chyna (Coral Gordon) and sax sample by Gary Barnacle Y N N N N Roadblock, 1986 (12")
Trouble Funk, "Pump Me Up" Vocal sample ("Pump-pump me up") Y Y Y Y N Drop the Bomb, 1982 (LP)
Fred Wesley and The J.B.'s, "Introduction to the J.B.'s" Vocal sample ("Without no doubt") Y N Y N N Doing It to Death, 1973 (LP)
Fred Wesley and The J.B.'s, "More Peas" Vocal sample ("Yeah, yeah") Y Y Y Y N Doing It to Death, 1973 (LP)
Whistle, "(Nothing Serious) Just Buggin'" Whistle sample Y N N N N Whistle, 1986 (LP)
Dunya Yunis, "Abu Zeluf"[10] Vocals Y Y Y Y Y Music in the World of Islam, 1: The Human Voice, 1976 (LP)
Track listings[edit]
4AD[edit]
12" single (BAD 707)
"Pump Up the Volume" – 5:08
"Anitina (The First Time I See She Dance)" – 6:38
Remix 12" single (BAD 707R)
"Pump Up the Volume (Remix)" – 6:28
"Anitina (The First Time I See She Dance) (Remix)" – 7:29
7" single (AD 707)
"Pump Up the Volume (Radio edit)" – 4:08
"Anitina (The First Time I See She Dance) (7" version)" – 5:02
CD maxi single (BAD 707 CD)
"Pump Up the Volume (Re-Mix)" – 6:27
"Pump Up the Volume" – 5:07
"Anitina (The First Time I See She Dance)" – 6:39
"Anitina (The First Time I See She Dance) (Remix)" – 7:40
U.S. CD maxi single (AD 707 CD)
"Pump Up the Volume (Radio edit)" – 4:07
"Pump Up the Volume" – 7:10
"Anitina (The First Time I See She Dance)" – 6:39
"Pump Up the Volume (Bonus Beats)" – 4:47
"Pump Up the Volume (Instrumental)" – 5:07
4th & Broadway[edit]
U.S. 12" single
"Pump Up the Volume" – 7:10
"Pump Up the Volume (Bonus Beat)" – 4:49
"Pump Up the Volume (Instrumental)" – 5:04
"Anitina (The First Time I See She Dance)" – 4:20
U.S. CD maxi single
"Pump Up the Volume" – 7:12
"Pump Up the Volume (Bonus Beat)" – 4:48
"Pump Up the Volume (Instrumental)" – 5:07
"Pump Up the Volume (Radio edit)" – 4:10
"Anitina" – 4:22
U.S. Cassette
"Pump Up the Volume" – 7:10
"Pump Up the Volume (Bonus Beat)" – 4:49
"Pump Up the Volume (Instrumental)" – 5:04
"Pump Up the Volume (Radio edit)" – 4:06
"Anitina" – 4:20
Bright Lights, Big City soundtrack[edit]
"Pump Up the Volume (U.S. Radio Edit)" – 4:08*
This version of the song was a one-time edit for the movie, Bright Lights, Big City. It features vocals on the intro by a female emcee saying: "Yo all you homeboys out in Bronx, this one's for you".[11]
This version also replaces the "Mean Machine" sample in the UK remixes "Automatic, push-button, remote control; synthetic, genetics, command your soul" with a altered version performed by UK rapper E-Mix, now known as E=mc2, which goes "Rhythmatic, systematic, world control; magnetic, genetic, demands your soul."
Charts and sales[edit]
Peak positions[edit]
Chart (1987–88)
Peak
position
Australia (Australian Music Report)[12][13] 6
Austria (Ö3 Austria Top 40)[14] 4
Belgium (Ultratop 50 Flanders)[15] 4
Canada Top Singles (RPM)[16] 1
France (SNEP)[17] 9
Germany (Official German Charts)[18] 2
Ireland (IRMA)[19] 5
Italy (FIMI)[20] 1
Netherlands (Dutch Top 40)[21] 1
Netherlands (GfK Dutch Chart)[22] 2
New Zealand (Recorded Music NZ)[23] 1
Spain (AFYVE)[24] 6
Sweden (Sverigetopplistan)[25] 14
Switzerland (Schweizer Hitparade)[26] 3
UK Singles (The Official Charts Company)[27] 1
U.S. Billboard Hot 100[28] 13
U.S. Billboard Hot Dance Club Play[28] 1
U.S. Billboard Hot R&B/Hip-Hop Singles & Tracks[28] 8
End of year charts[edit]
End of year chart (1987)
Position
UK Singles Chart 10
Certifications[edit]
Country
Certification
Date
Sales certified
Canada[29] Platinum 18 March 1988 100,000
UK[30] Silver 1 October 1987 250,000
U.S.[31] Gold 8 April 1988 500,000
Chart successions[edit]
Preceded by
"Never Gonna Give You Up" by Rick Astley UK number-one single
4 October 1987 – 10 October 1987 Succeeded by
"You Win Again" by The Bee Gees
Preceded by
"Could've Been" by Tiffany Canadian Singles Chart
27 February 1988 – 12 March 1988 Succeeded by
"Never Gonna Give You Up" by Rick Astley
Preceded by
"Never Gonna Give You Up" by Rick Astley Dutch Top 40 number-one single
7 November 1987 Succeeded by
"Faith" by George Michael
Preceded by
"System of Survival" by Earth, Wind & Fire Billboard Hot Dance Club Play number-one single
12 December 1987 – 19 December 1987 Succeeded by
"So Emotional" by Whitney Houston
Preceded by
"Never Gonna Give You Up" by Rick Astley New Zealand RIANZ number-one single
12 February 1988 – 19 February 1988 Succeeded by
"Heaven Is a Place on Earth" by Belinda Carlisle
Notes[edit]
A^ The 12" remix was branded as the song's original version in the U.S.
B^ Chanting from "Mean Machine" is sampled directly in the UK version of "Pump Up the Volume"; however, the U.S. version of the song contains a slightly different rhyme recorded specially for the release by UK rapper E-mix.
A video was released for this single and featured newsreel footage of the early Soviet and American space programs as well as NASA animation of satellites and other spacecraft.
External links[edit]
Official music video to Pump Up the Volume
References[edit]
Notations[edit]
Gibson, Robin (19 September 1987). "Ain't Nothing But a Hip-House Party". Sounds, p. 20-1.
Footnotes[edit]
Jump up ^ Bainbridge, Luke. The True Story of Acid House: Britain’s Last Youth Culture Revolution. Omnibus Press, 2014.
^ Jump up to: a b c d e f g King, Richard. How Soon Is Now. Faber & Faber. pp. 305–310. ISBN 978-0-571-24390-7.
Jump up ^ "Anitina" was listed as an "AA" side on both UK 12"s, but as a "B" side on the 7" single.
Jump up ^ Roberts, David (2006). British Hit Singles & Albums (19th ed.). London: Guinness World Records Limited. p. 524. ISBN 1-904994-10-5.
Jump up ^ "100 Greatest Dance Songs". Slant Magazine. 30 January 2006. Retrieved 5 March 2017.
Jump up ^ "A history of modern music: Dance". The Guardian. Retrieved 12 March 2017.
^ Jump up to: a b [1] Archived September 27, 2008, at the Wayback Machine.
Jump up ^ "M|A|R|R|S". WhoSampled. Retrieved 30 March 2014.
Jump up ^ "[Introspective] Re: We all feel better... x Beat Dis". Lists.jameslick.com. Retrieved 30 March 2014.
Jump up ^ "Pump Up the Volume sample of Dunya Yunis's Abu Zeluf". WhoSampled. Retrieved 30 March 2014.
Jump up ^ ""Pump up The Volume" Song Lyrics". Kovideo.net. Archived from the original on 14 September 2009. Retrieved 30 March 2014.
Jump up ^ Kent, David (1993). Australian Chart Book 1970–1992 (Illustrated ed.). St. Ives, N.S.W.: Australian Chart Book. p. 183. ISBN 0-646-11917-6. N.B. the Kent Report chart was licensed by ARIA between mid 1983 and 19 June 1988.
Jump up ^ "Australian Top 50 – Week Ending 31st January, 1988". imgur.com. Retrieved 3 April 2016.
Jump up ^ "Austriancharts.at – M – Pump Up the Volume" (in German). Ö3 Austria Top 40.
Jump up ^ "Ultratop.be – M – Pump Up the Volume" (in Dutch). Ultratop 50.
Jump up ^ "Item Display - RPM - Library and Archives Canada". Collectionscanada.gc.ca. Archived from the original on 13 January 2016. Retrieved 30 March 2014.
Jump up ^ "Lescharts.com – M – Pump Up the Volume" (in French). Les classement single.
Jump up ^ "Musicline.de – M Single-Chartverfolgung" (in German). Media Control Charts. PhonoNet GmbH.
Jump up ^ Irish Single Chart Irishcharts.ie (Retrieved 7 September 2008)
Jump up ^ "Indice per Interprete: M". musicline.de. Retrieved 7 March 2010.
Jump up ^ "Nederlandse Top 40 – M" (in Dutch). Dutch Top 40.
Jump up ^ "Pump up the volume in GfK Dutch Chart". Hung Medien. Retrieved 18 June 2013.
Jump up ^ "Charts.org.nz – M – Pump Up the Volume". Top 40 Singles.
Jump up ^ Salaverri, Fernando (September 2005). Sólo éxitos: año a año, 1959–2002 (1st ed.). Spain: Fundación Autor-SGAE. ISBN 84-8048-639-2.
Jump up ^ "Swedishcharts.com – M – Pump Up the Volume". Singles Top 100.
Jump up ^ "Swisscharts.com – M – Pump Up the Volume". Swiss Singles Chart.
Jump up ^ "Official Charts > M/A/R/R/S". The Official UK Charts Company. Retrieved 3 April 2016.
^ Jump up to: a b c Jason Ankeny. "M/A/R/R/S | Awards". AllMusic. Retrieved 30 March 2014.
Jump up ^ Canada certifications cria.ca (Retrieved 7 September 2008)
Jump up ^ UK certifications Bpi.co.uk (Retrieved 7 September 2008)
Jump up ^ U.S. certifications riaa.com (Retrieved 7 September 2008)
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Retrieved from "https://en.wikipedia.org/w/index.php?title=Pump_Up_the_Volume_(song)&oldid=841841378"
Categories:
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