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Look What You Made Me Do
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"Look What You Made Me Do"
Single by Taylor Swift
from the album Reputation
Released
August 24, 2017 (2017-08-24)
Format
CD single
digital download
Genre
Dance-pop
electroclash
electropop
Length
3:31
Label
Big Machine
Songwriter(s)
Taylor Swift
Jack Antonoff
Fred Fairbrass
Richard Fairbrass
Rob Manzoli
Producer(s)
Jack Antonoff[1]
Taylor Swift singles chronology
"I Don't Wanna Live Forever"
(2016) "Look What You Made Me Do"
(2017) "...Ready for It?"
(2017)
Music video
"Look What You Made Me Do" on YouTube
"Look What You Made Me Do" is a song recorded by American singer-songwriter Taylor Swift from her sixth studio album Reputation (2017). It was first released on August 24, 2017 as the lead single from the album. Swift wrote it with producer Jack Antonoff. It samples the melody of the 1991 song "I'm Too Sexy" by the band Right Said Fred; therefore, Fred Fairbrass, Richard Fairbrass, and Rob Manzoli of the band are credited as songwriters. The song topped the US and UK charts and became Swift's fifth biggest song of all time.[2]
The song received a mixed response from music critics, with division over Swift's stylistic change. The music video was directed by Joseph Kahn and became the most-watched music video within 24 hours.[3] The song broke a string of records, including the record for the most plays in a single day on Spotify. Commercially, "Look What You Made Me Do" has topped the charts in Australia, Canada, Croatia, the Czech Republic, Ireland, Israel, Lebanon, Malaysia, the Netherlands, the Philippines, Slovakia, Spain, the United Kingdom, and the United States. It has received a Double Platinum certification in Canada and Platinum certifications in the United States and Australia.
Contents
[hide]
1 Release and promotion
2 Composition
3 Critical reception
4 Chart performance
5 Music video
5.1 Production and release
5.2 Synopsis
5.3 Analysis
6 Accolades
7 Usage in media
8 Track listings
9 Charts
10 Certifications
11 Release history
12 See also
13 References
14 External links
Release and promotion[edit]
On August 23, 2017, Swift announced that the first single of her upcoming sixth album, titled Reputation, would come out the following night.[4] The song was released to streaming services on August 24,[5] and earned over eight million streams within twenty-four hours of its Spotify release, breaking the record for the highest first-day streaming for a single track.[6] "Look What You Made Me Do" was then released the next day onto iTunes for digital download through Big Machine Records[7] and onto Italian contemporary hit radio[8] before a United Kingdom radio release on August 26, 2017.[9] It impacted American contemporary hit radio three days afterwards.[10] A CD single release followed in Germany, Austria and Switzerland on October 27, 2017.[11][12]
A lyric video heavily based on the Saul Bass imagery used in the film Vertigo was released through Swift's official Vevo account on August 25, 2017.[13] The video was produced by Swift and Joseph Kahn.[14] It gained more than 19 million views during its first 24 hours on YouTube, surpassing "Something Just like This" by The Chainsmokers and Coldplay as the most viewed lyric video within that time period.[15] As of November 2017, the lyric video on YouTube has amassed over 85 million views.
Composition[edit]
Jack Antonoff (pictured in 2012) produced and co-wrote "Look What You Made Me Do".
"Look What You Made Me Do" runs for 3 minutes and 31 seconds.[7] Music critics have described the track as a hybrid of electroclash and pop,[16] as well as a dance-pop[17] and an electro-pop song.[13] It emphasizes the blame that is placed on an enemy, in particular the line "I've got a list of names and yours is in red, underlined". The middle eight of the song features Swift saying, "I'm sorry, the old Taylor can't come to the phone right now / Why? / Oh, 'cause she's dead!"
"Look What You Made Me Do" is performed in the key of A minor with a tempo of 128 beats per minute.[18] Swift's vocals span from G3 to F5.[18]
Critic Brittany Spanos of Rolling Stone noted a "nightmarish aesthetic" present in the song, and believed it to be a continuation of the "antagonistic persona" from "Bad Blood".[17]
Richard Fairbrass, Fred Fairbrass and Rob Manzoli, the members of the British dance-pop group Right Said Fred, are credited as songwriters because the song interpolates the melody of their song "I'm Too Sexy".[19][20] According to Fred Fairbrass, he and his brother were contacted one week before the release of "Look What You Made Me Do" and were asked whether a "big, contemporary female artist who hasn't released anything for a while" – whose identity they were not told – would be able to use a portion of their song for her latest single.[21] Although the brothers agreed to a deal, they did not officially find out that the artist in question was Swift until the morning after the song was released, but had deduced that it was her based on the description they were given.[21] Both of the Fairbrass brothers said that they enjoyed "Look What You Made Me Do"; Fred Fairbrass told Rolling Stone, "I like the cynical aspect of the lyric, because 'I'm Too Sexy' is a cynical song, and I think she channeled that quite well."[21] A representative for Swift confirmed that the song interpolated the melody from "I'm Too Sexy", but did not include sampled audio from the earlier song.[22]
Critical reception[edit]
"Look What You Made Me Do" received polarized reviews from critics.[23][24][25] USA Today said that the polarizing reaction to the song illustrated Swift's position as a "ubiquitous cultural force".[26] The Telegraph Randy Lewis praised the song, deeming Swift and Antonoff's work as "blow[ing] past the production clichés of clap tracks and hiccuped syllabic hooks that have proliferated across Top 40 fare in recent years with boldly inventive textures and fresh melodic, rhythmic and sonic accents". He also added how the track musically and sonically shifted alongside the lyrics.[27] Sarah Carson of the Los Angeles Times wrote a positive review of the song, saying: "The reverberating crescendo builds and ever more delicious is the wickedness of Swift's menacing protagonist", praising Swift for her successful embrace of the villain character the media has portrayed her as previous to the song's release.[28] Variety's Chris Willman also praised Swift's embrace of a darker-styled pop music and the stylistic conflict between the song's pre-chorus and chorus.[29] Mark Harris, in New York magazine's pop culture blog, thought of Swift's song as a pop art anthem for the Trump era in how she reappropriates her public feuds as empowering badges of honor without acknowledging her own responsibility or blame.[30]
However, Maura Johnston of The Guardian wrote a negative review of the song, faulting the "sloppy" lyrics and blaming Swift for not giving a clear context in the lyrics.[13] Brittany Spanos of Rolling Stone believed that the song marked a continuation of the feud between Swift and rapper Kanye West; the latter had previously name-dropped Swift in his song "Famous" by using the line, "I feel like me and Taylor might still have sex / Why? / I made that bitch famous". The single was noted as being a darker, angrier work than what Swift had done before.[17][31] Hugh McIntye of Forbes was critical of the change in style, saying that it "didn't sound like [Swift]" and that it "may have some kinks to work out".[16] Meaghan Garvey from Pitchfork referred to it in a review as "a hardcore self-own" track.[32]
Chart performance[edit]
In the United States, "Look What You Made Me Do" debuted at number seventy-seven on the Billboard Hot 100, powered by its first three days of airplay.[33] It also sold slightly under 200,000 digital copies within its first day of sales in the country, where it became the fastest selling download since Ed Sheeran's "Shape of You".[34] One week later, the song ascended from #77 to #1 on the Hot 100 after its first full week of tracking, becoming the fifth largest rise to the top position and Swift's fifth number-one single in the United States. It also topped the nation's Streaming Songs chart with 84.4 million streams, becoming its most streamed song within a week by a female artist and second overall behind the 103 million that Baauer's "Harlem Shake" gained in 2013. The track also had more weekly streams in the US than any other song in 2017. With 353,000 copies sold in its first week, "Look What You Made Me Do" opened atop the US Digital Songs chart and had the country's biggest sales opening since Justin Timberlake's "Can't Stop the Feeling!" in 2016 as well as the best weekly sales for a song by a female artist since Adele's "Hello" in 2015. The track also became the country's first number-one song with a female artist since Halsey was featured on "Closer" by The Chainsmokers and the first song with a female lead artist since Sia's "Cheap Thrills" with Sean Paul (both in 2016). It additionally was the first solo song by a female to top the US charts since Adele's "Hello".[35] It remained atop the Hot 100 and Streaming Songs charts for a second week with 114,000 copies sold and 61.2 million streams, though descended to number two on the Digital Songs chart when another Reputation track titled "...Ready for It?" debuted at number one with 135,000 digital copies sold and opened at number four on the Hot 100. As a result, Swift became the first artist to have two tracks sell over 100,000 digital copies in the nation within a week since Sheeran with "Shape of You" and "Castle on the Hill". It also became the first time a female had two songs within the top five of the Hot 100 since 2015 when Swift's previous tracks "Blank Space" and "Shake It Off" respectively were at numbers four and five on the chart.[36] The single also topped the Mainstream Top 40 chart, becoming Swift's eighth single to do so.[37]
In the United Kingdom, "Look What You Made Me Do" sold 20,000 copies and was streamed 2.4 million times in less than a week.[38] The song debuted at the top the UK Singles Chart on September 1, 2017 - for the week ending date September 7, 2017 - with opening sales of 30,000 copies and 5.3 million streams within the week and becoming Swift's first chart-topping song in Britain.[39] After two weeks at the top spot, it was displaced by Sam Smith's "Too Good at Goodbyes".[40]
"Look What You Made Me Do" also debuted at number one in the Republic of Ireland on September 1, 2017 and became Swift's first song to top the Irish Singles Chart. In doing so, it surpassed the number three peaks of her singles "Love Story" (in 2009) and "Shake It Off" (in 2014).
"Look What You Made Me Do" opened at number one in Australia on September 2, 2017, becoming her fifth track to top the ARIA Charts.[41] It spent another week at the nation's summit[42] before "Too Good at Goodbyes" took the top position there as well.[43] The song has been certified Platinum by the Australian Recording Industry Association (ARIA) for shipments of 70,000 units.[44] After debuting at number one on the Canadian Hot 100,[45] "Look What You Made Me Do" was also certified Platinum by Music Canada for shipments of 80,000 units on September 14, 2017.[46]
In New Zealand, "Look What You Made Me Do" entered at the number one spot on September 1, 2017, becoming Swift's fourth chart-topping single there.
In the Philippines, "Look What You Made Me Do" debuted at number 7 spot on the BillboardPH Hot 100 on its first week. A week later, it soared to the number 1 spot, ending the 10-week reign of "Despacito" by Luis Fonsi & Daddy Yankee featuring Justin Bieber. It descended to the runner-up position the following week, as the latter song reclaimed the top spot for an 11th week.
Music video[edit]
Production and release[edit]
The official music video premiered on August 27, 2017 at the 2017 MTV Video Music Awards.[47] The song's music video broke the record for most-watched video within 24 hours by achieving 43.2 million views on YouTube in its first day. It topped the 27.7 million Vevo views Adele's "Hello" attracted in that timeframe, as well as the 36 million YouTube views of Psy's "Gentleman" video.[48][49][50] It was viewed at an average 30,000 times per minute in its first 24 hours, with views reaching over 3 million views per hour.[51]
Preparation for the music video began in January, while the shooting took place in May.[52][53] The dance was choreographed by Tyce Diorio, who had worked with Swift on "Shake It Off" before.[52] Swift's make-up as a zombie was done by Bill Corso.[53] Post-production of the video lasted until the morning of its release.[53] A 20-second music video teaser was released on Good Morning America on August 25.[54]
It was also revealed that the diamonds used in a scene were authentic. The diamonds, loaned from celebrity jeweler Neil Lane, were said to be worth over $10 million, hence triggering tight security measures.[55] As of November 5, 2017, the video has over 675 million views and broke the record for the fastest video to reach 200, 300 and 400 million views on YouTube.[56] It is the 20th most liked video on YouTube with over 6.43 million likes.
Synopsis[edit]
The bathtub scene in the music video, where the diamonds were authentic and worth over $10 million.
Swift has said that part of the premise of the video is rooted in the idea that, "If everything you write about me was true, this is how ridiculous it would look."[57] The video begins with a zombie Swift crawling out of a grave, where the headstone reads "Here Lies Taylor Swift's reputation", and digging another grave for her Met Gala 2014 self. The next scene shows Swift in a bathtub filled with diamonds. She is then seen seated on a throne while snakes surround her and serve tea. Swift later crashes her golden Bugatti Veyron on a post and sings the song's chorus holding a Grammy as the paparazzi take photos. She is also seen swinging inside a cage, robbing a streaming company in a cat mask, and leading a motorcycle gang. Afterwards, she gathers a group of women at "Squad U" and dances with a group of men in another room. At the end of the video, various iterations of Swift's public image bicker with one another, describing each other as "so fake" and "playing the victim", ending with one saying "I would very much like to be excluded from this narrative" after which the other iterations yell at her to "shut up!" in unison, while the version of Swift in the background watches in silence.[58][59]
Analysis[edit]
The video contains numerous hidden meanings and references. In the opening scene, there is a subtle "Nils Sjöberg" tombstone shown when Swift is digging up a grave, referencing the pseudonym she used for a songwriting credit on Calvin Harris' 2016 single "This Is What You Came For".[60] Similarly, Swift—masked as a cadaveric version of herself in the "Out of the Woods" music video—was shown digging a grave for herself in a 2014 Met Gala gown, an event that characterized her first public appearance with short hair. A single dollar bill in the bathtub full of diamonds that she bathes in was also speculated to symbolize the dollar she was awarded for winning a sexual assault trial earlier in 2017.[60] Interpretations for the bathtub scene were contrasting. Some believe that it is a response to media statement teasing that she "cries in a marble bathtub surrounded by pearls", while others viewed it as a mockery to Kim Kardashian's 2016 gunpoint robbery.[61]
In a separate scene, Swift is shown sitting atop a golden throne, where a carving of a phrase "Et tu, Brute?" could be seen on the armrest, a reference to Shakespeare's drama Julius Caesar.[60] Swift's infamous title as a "snake" during her hiatus[62] was also represented when a snake slithers onto the throne to serve Swift some tea. When Swift's car crashes, some speculated that it may be a jab at Katy Perry as Swift's hairdo is similar to Perry's in the scene. The sports car is also reminiscent of a car in Perry's "Waking Up in Vegas" video. She is also holding a Grammy Award in the scene, a possible reference to the fact that Perry has never won any Grammys despite multiple nominations.[63] Swift's withdrawal of her entire music catalog from streaming services were hinted when Swift and her crew walked out of a streaming company in the video.[64][65]
Swift gathering at "Squad U" was also said to be a reply to the media dubbing her close friends as a "squad".[60] During the second chorus, Swift can be seen with eight men, each of which revealed an "I Heart TS" crop top after unbuttoning a jacket. This scene is an apparent tribute to her ex-boyfriend Tom Hiddleston, who was seen wearing an "I Heart TS" tank top when they were a couple. The eight backup dancers may also have been a possible reference to the idea that Swift has had eight ex-boyfriends during her career. Swift was also seen standing on a pile of her other iterations, reiterating the idea that she is leaving her past self behind. The shirt that an iteration of Swift wore in the "You Belong with Me" video was also different, with her close friends' names scribbled on it this time.[64][65]
In June 2016, discussing the relationship between her and Kanye West after West's song "Famous", Swift wrote on Instagram, "I would very much like to be excluded from this narrative."[66] The same line is spoken by one of Swift's iterations at the end of the video.[67][68] She is wearing the same outfit Swift had worn during the 2009 MTV Video Music Awards, when West interrupted her award-winning speech for Best Female Video.[69]
Accolades[edit]
The song is nominated for “Best Music Video” at the 2017 MTV Europe Music Awards. It was also nominated for “Best Music Video” at the NRJ Music Awards.
Usage in media[edit]
ABC used the song in a promotional video for its Shonda Rhimes' Thursday line-up an hour after its release.[70] Sister network ESPN used it in its college football telecast advertisements for the season opening game between Alabama and Florida State, which was aired on ABC on September 2.[71]
Track listings[edit]
Digital download[7]
"Look What You Made Me Do" – 3:31
CD single[12]
"Look What You Made Me Do" – 3:31
"Look What You Made Me Do" (Music Video) – 4:16
Charts[edit]
Chart (2017)
Peak
position
Argentina Anglo (Monitor Latino)[72]
4
Australia (ARIA)[73]
1
Austria (Ö3 Austria Top 40)[74]
2
Belgium (Ultratop 50 Flanders)[75]
8
Belgium (Ultratop 50 Wallonia)[76]
39
Canada (Canadian Hot 100)[77]
1
Canada AC (Billboard)[78]
33
Canada CHR/Top 40 (Billboard)[79]
10
Canada Hot AC (Billboard)[80]
10
Croatia (HRT)[81]
1
Czech Republic (Rádio Top 100)[82]
39
Czech Republic (Singles Digitál Top 100)[83]
1
Denmark (Tracklisten)[84]
12
Euro Digital Songs (Billboard)[85]
1
Finland (Suomen virallinen lista)[86]
8
France (SNEP)[87]
4
Germany (Official German Charts)[88]
3
Greece Digital Songs (Billboard)[89]
1
Hungary (Single Top 40)[90]
3
Ireland (IRMA)[91]
1
Israel (Media Forest)[92]
1
Italy (FIMI)[93]
10
Japan (Japan Hot 100)[94]
7
Japan Hot Overseas (Billboard)[95]
1
Latvia (Latvijas Top 40)[96]
2
Lebanon (Lebanese Top 20)[97]
1
Luxembourg Digital Songs (Billboard)[98]
7
Malaysia (RIM)[99]
1
Mexico Anglo (Monitor Latino)[100]
1
Netherlands (Dutch Top 40)[101]
7
Netherlands (Single Top 100)[102]
13
New Zealand (Recorded Music NZ)[103]
1
Norway (VG-lista)[104]
6
Philippines (Philippine Hot 100)[105]
1
Portugal (AFP)[106]
4
Russia Airplay (Tophit)[107]
46
Scotland (Official Charts Company)[108]
1
Slovakia (Singles Digitál Top 100)[109]
1
South Korea International Chart (Gaon)[110]
6
Spain (PROMUSICAE)[111]
1
Sweden (Sverigetopplistan)[112]
7
Switzerland (Schweizer Hitparade)[113]
6
UK Singles (Official Charts Company)[114]
1
US Billboard Hot 100[115]
1
US Adult Contemporary (Billboard)[116]
19
US Adult Top 40 (Billboard)[117]
7
US Dance Club Songs (Billboard)[118]
9
US Dance/Mix Show Airplay (Billboard)[119]
3
US Mainstream Top 40 (Billboard)[120]
1
US Rhythmic (Billboard)[121]
20
Venezuela Anglo (Monitor Latino)[122]
5
Certifications[edit]
Region
Certification
Certified units/Sales
Australia (ARIA)[44]
Platinum 70,000^
Belgium (BEA)[123]
Gold 15,000*
Canada (Music Canada)[46]
2× Platinum 160,000^
Italy (FIMI)[124]
Gold 25,000
New Zealand (RMNZ)[125]
Gold 15,000*
Spain (PROMUSICAE)[126]
Gold 20,000^
United Kingdom (BPI)[127]
Silver 200,000
United States (RIAA)[128]
Platinum 707,626[129]
*sales figures based on certification alone
^shipments figures based on certification alone
sales+streaming figures based on certification alone
Release history[edit]
Region
Date
Format
Label
Ref.
Worldwide
August 24, 2017 Streaming Big Machine [5]
August 25, 2017 Digital download [7]
Italy
Contemporary hit radio Universal Music [8]
United Kingdom
August 26, 2017 Virgin EMI [9]
United States
August 29, 2017 Big Machine [10]
Germany
October 27, 2017 CD single Universal Music [11]
See also[edit]
List of number-one singles of 2017 (Australia)
List of number-one digital tracks of 2017 (Australia)
List of number-one streaming tracks of 2017 (Australia)
List of Canadian Hot 100 number-one singles of 2017
List of number-one digital songs of 2017 (Canada)
List of number-one singles of 2017 (Ireland)
List of number-one singles from the 2010s (New Zealand)
List of Philippine Hot 100 number-one singles of 2017
List of Scottish number-one singles of 2017
List of UK Singles Chart number ones of the 2010s
List of Billboard Hot 100 number-one singles of 2017
List of number-one Billboard Streaming Songs of 2017
List of number-one digital songs of 2017 (U.S.)
List of Billboard Mainstream Top 40 number-one songs of 2017
List of number-one songs of 2017 (Malaysia)
List of most liked YouTube videos
List of most disliked YouTube videos
List of most viewed online videos in the first 24 hours
List of most viewed music videos in the first 24 hours
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Jump up ^ "Top 20 Anglo Argentina – Del 9 al 15 de Octubre, 2017" (in Spanish). Monitor Latino. 9 October 2017. Retrieved 16 October 2017.
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Jump up ^ "Spanish single certifications – Taylor Swift – Look What You Made Me Do" (PDF) (in Spanish). Productores de Música de España. Retrieved September 22, 2017. Select single under "Chart", enter ' in the field "Year". Select ' in the field "Semana". Click on "Search Charts"
Jump up ^ "British single certifications – Taylor Swift – Look What You Made Me Do". British Phonographic Industry. Retrieved September 23, 2017. Enter Look What You Made Me Do in the search field and then press Enter.
Jump up ^ "American single certifications – Taylor Swift – Look What You Made Me Do". Recording Industry Association of America. Retrieved September 28, 2017. If necessary, click Advanced, then click Format, then select Single, then click SEARCH
Jump up ^ "Nielsen SoundScan charts – Digital Songs – Week Ending: 10/05/2017" (PDF). Nielsen SoundScan. Archived from the original (PDF) on October 8, 2017. Retrieved October 9, 2017.
External links[edit]
Lyrics of this song at MetroLyrics
"Look What You Made Me Do" (Lyric video) on YouTube
[hide]
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"Style"
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Reputation
"...Ready for It?"
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"Gorgeous"
Collaborations
"Two Is Better Than One"
"Half of My Heart"
"Both of Us"
"Highway Don't Care"
Other songs
"Crazier"
"Today Was a Fairytale"
"Safe & Sound"
"Long Live"
"Eyes Open"
"Ronan"
"Sweeter Than Fiction"
"I Don't Wanna Live Forever"
"You'll Always Find Your Way Back Home"
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text:
Psalm 23
From Wikipedia, the free encyclopedia
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Psalm 23
"The Lord is my Shepherd"
Illustration from The Sunday at Home, 1880
Other name
"Dominus reget me"
Written
around 1000 BCE
Text
attributed to King David
Language
Hebrew (original)
Psalm 23 is the 23rd psalm of the Book of Psalms, generally known in English by its first verse, in the King James Version, "The Lord is my Shepherd". The Book of Psalms is the third section of the Hebrew Bible,[1] and a book of the Christian Old Testament. In the Greek Septuagint version of the bible, and in its Latin translation Vulgate, this psalm is Psalm 22 in a slightly different numbering system. In Latin, it is known as "Dominus reget me et nihil mihi deerit".[2]
Like all psalms, Psalm 23 was used in worship of the ancient Hebrews. The writer describes God as his shepherd, in the role of protector and provider. The psalm is read, recited and sung by Jews and Christians.
Contents
[hide]
1 Text
2 Shepherd theme
3 In Christian tradition
3.1 Metrical versions
3.2 Use in funerals
4 Use in Judaism
5 Musical settings
5.1 Liturgical and classical
5.2 Songs
6 Recitation
7 Media
8 References
9 Bibliography
10 External links
Text[edit]
The Lord is my shepherd; I shall not want.
He maketh me to lie down in green pastures: He leadeth me beside the still waters.
He restoreth my soul: He leadeth me in the paths of righteousness for His name's sake.
Yea, though I walk through the valley of the shadow of death, I will fear no evil: for Thou art with me; Thy rod and Thy staff they comfort me.
Thou preparest a table before me in the presence of mine enemies: Thou anointest my head with oil; my cup runneth over.
Surely goodness and mercy shall follow me all the days of my life: and I will dwell in the house of the Lord forever.
—  Psalm 23:1-6
Shepherd theme[edit]
The theme of God as a shepherd was common in ancient Israel and Mesopotamia. For example, King Hammurabi, in the conclusion to his famous legal code, wrote: "I am the shepherd who brings well-being and abundant prosperity; my rule is just.... so that the strong might not oppress the weak, and that even the orphan and the widow might be treated with justice."[3] This imagery and language was well-known to the community that created the Psalm, and was easily imported into its worship.
Psalm 23 portrays God as a good shepherd, feeding (verse 1) and leading (verse 3) his flock. The "rod and staff" (verse 4) are also the implements of a shepherd. Some commentators see the shepherd imagery pervading the entire psalm. It is known that the shepherd is to know each sheep by name, thus when God is given the analogy of a shepherd, he is not only a protector but also the caretaker. God, as the caretaker, leads the sheep to green pastures (verse 2) and still waters (verse 2) because he knows that each of his sheep must be personally led to be fed. Thus, without its Shepherd, the sheep would die either by a predator or of starvation, since sheep are known for their helplessness without their shepherd.
J. Douglas MacMillan argues that verse 5 ("Thou preparest a table before me") refers to the "old oriental shepherding practice" of using little raised tables to feed sheep.[4] Similarly, "Thou anointest my head with oil" may refer to an ancient form of backliner – the oil is poured on wounds, and repels flies. MacMillan also notes that verse 6 ("Goodness and mercy shall follow me") reminds him of two loyal sheepdogs coming behind the flock.[5]
John Ellinwood argues that in verses 4 and 5 King David acknowledges God's protection in expeditions and in battles. "Thou preparest a table before me in the presence of mine enemies" refers to the sober raucous dinner before major battles. These were raucous in order to demoralize hostiles camped within earshot, and (only) the king ate from a table. "Thou anointest my head with oil" because tomorrow this ceremony might be impossible. After each victory there was no longer a need for sobriety, so "my cup runneth over." The king's lyricist wisely shortened these military verses for balance. Also in Psalm 18 David mentions God's protection in battle. [13].
The first verse of the Psalm ascribes authorship to King David, said in the Hebrew Scriptures to have been a field shepherd himself as a youth. However, some scholars do not believe that David could have written any of the Psalms.
Psalm 23 is traditionally sung by Jews in Hebrew at the third Shabbat meal on Saturday afternoon.
In Christian tradition[edit]
This section includes a list of references, related reading or external links, but its sources remain unclear because it lacks inline citations. Please help to improve this section by introducing more precise citations. (March 2014) (Learn how and when to remove this template message)
Psalm 23 is often referred to as the Shepherd's psalm
For Christians the image of God as a shepherd evokes connections not only with David but with Jesus, described as "Good Shepherd" in the Gospel of John. The phrase about "the valley of the shadow of death" is often taken as an allusion to the eternal life given by Jesus.
Orthodox Christians typically include this Psalm in the prayers of preparation for receiving the Eucharist.
The Reformation inspired widespread efforts in western Europe to make biblical texts available in vernacular languages. One of the most popular early English versions was the Geneva Bible (1557). The most widely recognized version of the psalm in English today is undoubtedly the one drawn from the King James Bible (1611).
The psalm is a popular passage for memorization and is often used in sermons.
Metrical versions[edit]
Main article: Metrical psalter
Eastman Johnson's 1863 painting "The Lord is My Shepherd".
An early metrical version of the psalm in English was made in 1565 by Thomas Sternhold. Other metrical versions to emerge from the Protestant Reformation include those from The Bay Psalm Book (1640)[6] and a version influenced by Sternholm published in the Scottish Psalter (1650).[7] The latter version is still encountered, with modernized spelling, in many Protestant hymns. Other notable metrical versions include those by George Herbert, Philip Sidney, and Isaac Watts.[6]
A metrical version of the psalm is traditionally sung to the hymn tune Crimond, generally attributed to Jessie Seymour Irvine.[8] This version, with its opening words "The Lord's My Shepherd", is probably the best-known amongst English-speaking congregations. Other melodies, such as Brother James' Air or Amazing Grace, are also used. Other tunes sometimes used include Belmont, Evan, Martyrdom, Orlington, and Wiltshire.[9]
Use in funerals[edit]
In the twentieth century, Psalm 23 became particularly associated with funeral liturgies in the English-speaking world, and films with funeral scenes often depict a graveside recitation of the psalm. Official liturgies of English-speaking churches were slow to adopt this practice, though. The Book of Common Prayer of the Church of England has only Psalms 39 and 90 in its order for the burial of the dead, and in the Episcopal Church in the United States, Psalm 23 was not used for funerals until the 1928 revision of the prayer book.
Use in Judaism[edit]
This Psalm is found in the Friday night Maariv service. It is also traditionally sung three times during the third Sabbath meal.[citation needed]
Musical settings[edit]
Liturgical and classical[edit]
Johann Sebastian Bach, Cantata No.112 Der Herr ist mein getreuer Hirt, BWV 112
James Leith Macbeth Bain – hymn tune Brother James' Air[10]
Lennox Berkeley Op. 91, No. 1 (1975)
Leonard Bernstein – Chichester Psalms (Hebrew, in Part 2, together with Psalm 2)
Anton Bruckner – Psalm 22 Der Herr regieret mich WAB 34 (c. 1852)
Noah Creshevsky – Psalm XXIII (2003)
Paul Creston – Psalm XXIII (1945)
Herbert Howells – Hymnus Paradisi
Jessie Seymour Irvine – hymn tune Crimond[10]
Albert Hay Malotte
Clément Marot (Latin)
George Rochberg[11]
Miklós Rózsa[12]
Edmund Rubbra – Three Psalms, op.61 (no.2)
John Rutter – The Lord is my Shepherd (1978), included in his Requiem (1985)
Franz Schubert – version by Moses Mendelssohn (German)
Randall Thompson[13]
Ralph Vaughan Williams[14]
Charles Villiers Stanford – "The Lord is my Shepherd" (1886)[15]
Alexander Zemlinsky Op. 14, (1910) for chorus and orchestra
Antonín Dvořák, verses 1–4, No. 4 of his Biblical Songs (1894)
Rabbi Shlomo Carlebach – Gam Ki Elech b'Gey Tzalmavet Lo Irah Rah Ki Atah Imadi. גם כי אלך [16]
Songs[edit]
1958: Duke Ellington – "Part VI" from Black, Brown and Beige with Mahalia Jackson
1966: The Moody Blues – "23rd Psalm" from the album The Magnificent Moodies deLuxe Edition (not released until 2014)
1966: Ed Ames – "My Cup Runneth Over" RCA Victor single from the Musical Production "I Do!, I Do!"
1972: Dave Cousins – "Lay Down" from the album Bursting at the Seams
1975: Pluggy Satchmo – "Pslam 23" 7" single
1977: Dennis Brown – "Here I Come" from the album Wolf & Leopards
1977: Peter Tosh – "Jah Guide" from the album Equal Rights
1977: Pink Floyd – "Sheep" from the album Animals
1978: Patti Smith Group – "Privilege (Set Me Free)" from the album Easter
1980: The Grateful Dead – "Alabama Getaway" from the album Go to Heaven
1981: Venom – "Welcome To Hell" from the album Welcome To Hell
1982: Keith Green – "The Lord is My Shepherd" from the album Songs for the Shepherd
1983: Marillion – "Forgotten Sons" from the album Script for a Jester's Tear
1985: Judy Collins – "The Lord is my Shepherd" from the album Amazing Grace
1988: Diamanda Galás – "The Lord is my Shepherd" from the album You Must Be Certain of the Devil
1988: U2 – "Love Rescue Me" from the album Rattle and Hum
1989: Lil' Louis – "Blackout" from the album From The Mind Of Lil Louis
1990: Bobby McFerrin – "The 23rd Psalm" from the album Medicine Music
1993: Alpha Blondy – "Psaume 23" from the album Jerusalem
1993: Christian Death – Psalm (Maggot's Lair) from album Path of Sorrows
1993: Midnight Oil – "In the Valley" from album Earth and Sun and Moon
1994: Howard Goodall – theme to The Vicar of Dibley, later covered by Katherine Jenkins and The Choirboys
1995: Coolio feat. L.V. – "Gangsta's Paradise"
1995: Michael W. Smith - "As It Is In Heaven" from I'll Lead You Home
1995: Tupac Shakur – "So Many Tears" from the album Me Against The World
1996: Cissy Houston, (Whitney Houston's mother) – "The Lord is My Shepherd" from The Preacher's Wife: Original Soundtrack Album
1997: Christopher Wallace (The Notorious B.I.G.) – "You're Nobody ('Til Somebody Kills You)" from the album Life After Death
1998: Colin Mawby – recording with Charlotte Church
1998: Kathy Troccoli - "Psalm 23" from Corner of Eden
1999: E Nomine – "Psalm 23" from the album Das Testament
1999: Jonathan Elias – "Forgiveness" from the album The Prayer Cycle
1999: Ky-mani Marley – "Lord is My Shepherd" from the album The Journey
2000: Marilyn Manson – "In The Shadow Of The Valley Of Death" from the album Holy Wood
2001: Dan Nichols – "Psalm 23" from the album Be Strong
2002: Boards of Canada – "From One Source All Things" from the album Geogaddi
2003: Lucinda Williams – "Atonement" from the album World Without Tears
2004: Kanye West – "Jesus Walks" from the album The College Dropout
2004: Megadeth – "Shadow of Deth" from the album The System Has Failed
2004: OverClocked Remix – "Beneath the Surface (Aquatic Ambiance)" from Kong in Concert
2005: Ministry (band) - "No W (Redux)" from Rantology
2007: Group 1 Crew – "Forgive Me" from the album Group 1 Crew
2007: Dream Theater – "In The Presence Of Enemies Part 2" from the album Systematic Chaos
2008: Jon Foreman – "The House of God, Forever" from the EP, Summer
2008: The Offspring – "Hammerhead" from the album Rise and Fall, Rage and Grace
2009: India.Arie, MC Lyte – "Psalms 23" from the album Testimony: Vol. 2, Love & Politics
2009: Rick Ross – "Valley of Death" from the album Deeper Than Rap
2010: Nas & Damian Marley – "Strong Will Continue" from the album Distant Relatives
2011: Hollywood Undead – "Hear Me Now" from the album American Tragedy
2012: Shawn James – "Through the Valley" from the album Shadows
2013: The Black Dahlia Murder – "In Hell Is Where She Waits for Me" from the album Everblack
2013: Jay-Z – "Holy Grail" from the album Magna Carta Holy Grail
2013: Fall Out Boy – "Death Valley" from "Save Rock and Roll"
2013: Audrey Assad - "Good to Me" from Fortunate Fall
2016: Shane & Shane - "Psalm 23 (Surely Goodness, Surely Mercy)" from Psalms II
2016: Crowder – "Shepherd" from the album "American Prodigal"
Recitation[edit]
2013: Australian singer songwriter Paul Kelly from the album Poems For Funerals
Media[edit]
By Jessie S Irvine
02:47 Orchestral arrangement 5 Verses with intro
Problems playing this file? See media help.
By James Leith Macbeth Bain
02:36 Orchestral arrangement 5 Verses with intro
Problems playing this file? See media help.
References[edit]
Jump up ^ Mazor 2011, p. 589.
Jump up ^ Parallel Latin/English Psalter / Psalmus 22 (23) medievalist.net
Jump up ^ "Hammurabi's Code, circa 1780BC". history.hanover.edu. Retrieved 2017-12-12.
Jump up ^ J. Douglas MacMillan, The Lord of Shepherd. (Bryntirion: Evangelical Press of Wales, 1988), 78.
Jump up ^ J. Douglas MacMillan, The Lord of Shepherd. (Bryntirion: Evangelical Press of Wales, 1988), 82.
^ Jump up to: a b "'Psalms Compared: Psalm 23', retrieved 2007-08-05. (no public access!)". Smith Creek Music. 2007-01-17. Retrieved 2014-03-12.
Jump up ^ Scottish Psalter and Paraphrases at CCEL
Jump up ^ "Crimond". Center for Church Music - Songs & Hymns. Retrieved 2008-10-07.
Jump up ^ [1][dead link]
^ Jump up to: a b "BBC h2g2 Psalm 23". Bbc.co.uk. Retrieved 2014-03-12.
Jump up ^ Together with Psalm 43 and Psalm 150 in an a capella setting for mixed chorus written in 1954. Dixon, Joan (1992). George Rochberg: A Bio-Bibliographic Guide to His Life and Works. Hillsdale, New York: Pendragon Press, p. 175.
Jump up ^ The Miklós Rózsa Society Website[dead link]
Jump up ^ Blotner, Linda Solow (1983). The Boston Composers Project: A Bibliography of Contemporary Music. Cambridge, Massachusetts: MIT Press, p. 547.
Jump up ^ "Settings of: Psalm 23". ChoralNet. Retrieved 2012-02-25.
Jump up ^ #NOV290116. Novello & Co Ltd.
Jump up ^ Gem Ki Elech 1(YouTube).
Bibliography[edit]
Mazor, Lea (2011). Berlin, Adele; Grossman, Maxine, eds. Book of Psalms. The Oxford Dictionary of the Jewish Religion. Oxford University Press. ISBN 978-0-19-973004-9.
External links[edit]
Wikisource has original text related to this article:
Psalm 23
Wikimedia Commons has media related to Psalm 23.
Hebrew text, translation, transliteration, recorded melodies from The Zemirot Database
Tehillim – Psalm 23 (Judaica Press) translation with Rashi's commentary.
Psalm 23 recited in Hebrew
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