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Japanese economic miracle
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The foundations of the aviation industry survived the war.
Japanese-made TV sets during the economic boom
Steel plant of Nippon Steel Corporation in Chiba Prefecture – Japanese coal- and metal-related industry experienced an annual growth rate of 25% in the 1960s.
The low-cost Nissan Sunny became a symbol of the Japanese middle class in the 1960s.
The Japanese economic miracle was Japan's record period of economic growth between the post-World War II era to the end of the Cold War. During the economic boom, Japan rapidly became the world's second largest economy (after the United States). By the 1990s, Japan's demographics began stagnating and the workforce was no longer expanding as it did in previous decades, despite per-worker productivity remaining high.
Contents
1 Background
2 Governmental contributions
3 History
3.1 Brief introduction to the Japanese Economic Miracle
3.2 The Recovery Stage (1946-1954)
3.3 The High Increasing Stage (1954-1972)
3.3.1 Influence of Governmental Policies: Ikeda administration and keiretsu
3.3.2 Vast Consumption: From survival to recreation
3.3.2.1 Vast Export: "Golden Sixties" and shift to export trade
3.4 The Steady Increasing Stage (1973-1992)
4 Role of the Ministry of International Trade and Industry
5 Conclusion
6 See also
7 Footnotes
8 References
9 External links
Background[edit]
This economic miracle was the result of post-World War II Japan and West Germany benefiting from the Cold War.[dubious – discuss] It occurred chiefly due to the economic interventionism of the Japanese government and partly due to the aid and assistance of the U.S. Marshall Plan.[1] After World War II, the U.S. established a significant presence in Japan to slow the expansion of Soviet influence in the Pacific. The U.S. was also concerned with the growth of the economy of Japan because there was a risk after World War II that an unhappy and poor Japanese population would turn to communism and by doing so ensure that the Soviet Union would control the Pacific.
The distinguishing characteristics of the Japanese economy during the "economic miracle" years included: the cooperation of manufacturers, suppliers, distributors, and banks in closely knit groups called keiretsu; the powerful enterprise unions and shuntō; good relations with government bureaucrats, and the guarantee of lifetime employment (shūshin koyō) in big corporations and highly unionized blue-collar factories.
Governmental contributions[edit]
The Japanese financial recovery continued even after SCAP departed and the economic boom propelled by the Korean War abated. The Japanese economy survived from the deep recession caused by a loss of the U.S. payments for military procurement and continued to make gains. By the late 1960s, Japan had risen from the ashes of World War II to achieve an astoundingly rapid and complete economic recovery. According to Mikiso Hane, the period leading up to the late 1960s saw "the greatest years of prosperity Japan had seen since the Sun Goddess shut herself up behind a stone door to protest her brother Susano-o's misbehavior." The Japanese government contributed to the post-war Japanese economic miracle by stimulating private sector growth, first by instituting regulations and protectionism that effectively managed economic crises and later by concentrating on trade expansion.[2]
History[edit]
Brief introduction to the Japanese Economic Miracle[edit]
Japanese economic miracle refers to the significant increase in Japanese economy during the time between the end of World War II and the end of Cold War (1945-1991). The economical miracle can be divided into four stages: the recovery (1946-1954), the high increase (1955-1972), the steady increase (1972-1992), and the low increase (1992-2017).[3]
Though heavily destroyed by the nuclear bombardment in Hiroshima and Nagasaki, and other Allied air raids on Japan, Japan was able to recover from the trauma of WWII, and managed to become the second largest economic entity of the world (after the United States) by the 1960s[4] (Soviet Union excluded). However, after three decades, Japan had experienced the so-called "recession in growth", as the United States had been imposing economic protection policy in oppressing Japanese production and forcing the appreciation of the Japanese yen. In preventing further oppression, Japan greatly improved its technological advances and raised the value of the yen, since to devalue, the yen would have brought further risk and a possible depressing effect on trade.[5] The appreciation of the yen led to significant economic recession in the 1980s. To alleviate the influence of recession, Japan imposed a series of economical and financial policy to stimulate the domestic demand. Nevertheless, the bubble economy that took place in the late 1980s and early 1990s and the subsequent deflationary policy destroyed the Japanese economy. After the deflationary policy, the Japanese economy has been through a time of low increase period which has lasted until today. For more detailed information regarding this period, see Economic history of Japan and Lost Decade (Japan).
The Recovery Stage (1946-1954)[edit]
Japan was seriously harmed in WWII. For instance, during the wartime, "the Japanese cotton industry was brought to its knees by the end of the Second World War. Two-thirds of its prewar cotton spindles were scrapped by wartime administrators, and bombing and destruction of urban areas had caused a further loss of 20 percent of spinning and 14 percent of weaving capacity".[6] Nonetheless, the ability of recovery astonished the world, earning the title of "Japanese Economic Miracle". By and large, every country has experienced some degree of industrial growth in the postwar period, those countries that achieved a heavy drop in industrial output due to war damage such as Japan, West Germany and Italy, have achieved a most rapid recovery. In the case of Japan, industrial production had fallen in 1946 to 27.6% of the pre-war level, but regained this pre-war level in 1951 and reached 350% in 1960.[7]
The first reason for Japan to recover from war trauma swiftly was the successful economic reform by the government. The government body principally concerned with industrial policy in Japan is the Ministry of International Trade and Industry.[8] One of the major economic reforms was to adopt the "Inclined Production Mode" (けいしゃせいさんほうしき). The "Inclined Production Mode" refers to the inclined production that primarily focus on the production of raw material including steel, coal and cotton. Textile production occupied more than 23.9% of the total industrial production.[9] Moreover, to stimulate the production, Japanese government supported the new recruitment of labour, especially female labour. By enhancing the recruitment of female labour, Japan managed to recover from the destruction. The legislation on recruitment contains three components: the restriction placed on regional recruitment and relocation of workers, the banning of the direct recruitment of new school leavers, and the direct recruitment of non-school leavers under explicitly detailed regulations issued by the Ministry of Labor.[6]
The second reason that accounts for Japan's rapid recovery from WWII was the outbreak of Korean War, as Japan was favored by the Special Procurement.[10] The Korean War was fought on the Korean Peninsula, and the United States eventually participated in the war, providing an opportunity for the Japanese economy. The Korean Peninsula is distant from US territory, so the logistics soon became a significant problem. As one of the major supporters of the United States in Asia, Japan stood out, providing ample support to logistical operations, and also benefitting from the production of firearms. The order of mass firearms and other material by the United States greatly stimulated the Japanese economy, enabling Japan to recover from the wartime destruction and providing Japan the basis for the upcoming high increasing stage.
The High Increasing Stage (1954-1972)[edit]
After gaining support from the United States and achieving domestic economic reform, Japan was able to soar from the 1950s to the 1970s. Furthermore, Japan also completed its process toward industrialization, and became one of the first developed countries in East Asia. The Japanese Economic Yearbooks from 1967 to 1971 witnessed the significant increase. In 1967, the year book said: the Japanese economy in 1966 thus made an advance more rapidly than previously expected.[11] In 1968, the year book said that the Japanese economy continued to make a sound growth after it had a bottom in the autumn of 1965.[12] The words "increase", "growth" and "upswing" filled with summaries of the year books from 1967 to 1971. The reasons for Japan to complete industrialization are also complicated, and the major characteristic of this time is the influence of governmental policies of the Hayato Ikeda administration, vast consumption, and vast export.
Influence of Governmental Policies: Ikeda administration and keiretsu[edit]
In 1954, the economic system MITI had cultivated from 1949 to 1953 came into full effect. Prime Minister Hayato Ikeda, who Johnson calls "the single most important individual architect of the Japanese economic miracle," pursued a policy of heavy industrialization. This policy led to the emergence of 'over-loaning' (a practice that continues today) in which the Bank of Japan issues loans to city banks who in turn issue loans to industrial conglomerates. Since there was a shortage of capital in Japan at the time, industrial conglomerates borrowed beyond their capacity to repay, often beyond their net worth, causing city banks in turn to overborrow from the Bank of Japan. This gave the national Bank of Japan complete control over dependent local banks.
The system of over-loaning, combined with the government's relaxation of anti-monopoly laws (a remnant of SCAP control) also led to the reemergence of conglomerate groups called keiretsu that mirrored the wartime conglomerates, or zaibatsu. Led by the economic improvements of Sony businessmen Masaru Ibuka and Akio Morita, the keiretsu efficiently allocated resources and became competitive internationally.[13]
At the heart of the keiretsu conglomerates' success lay city banks, which lent generously, formalizing cross-share holdings in diverse industries. The keiretsu spurred both horizontal and vertical integration, locking out foreign companies from Japanese industries. Keiretsu had close relations with MITI and each other through the cross-placement of shares, providing protection from foreign take-overs. For example, 83% of Japan's Development Bank's finances went toward strategic industries: shipbuilding, electric power, coal and steel production.[14] Keiretsu proved crucial to protectionist measures that shielded Japan's sapling economy.
Keiretsu also fostered an attitude shift among Japanese managers that tolerated low profits in the short-run because keiretsu were less concerned with increasing stock dividends and profits and more concerned about interest payments. Approximately only two-thirds of the shares of a given company were traded, cushioning keiretsu against market fluctuations and allowing keiretsu managers to plan for the long-term and maximize market shares instead of focusing on short-term profits.
The Ikeda Administration also instituted the Foreign Exchange Allocation Policy, a system of import controls designed to prevent the flooding of Japan's markets by foreign goods. MITI used the foreign exchange allocation to stimulate the economy by promoting exports, managing investment and monitoring production capacity. In 1953, MITIs revised the Foreign Exchange Allocation Policy to promote domestic industries and increase the incentive for exports by revising the export-link system. A later revision based production capacity on foreign exchange allocation to prevent foreign dumping.
Vast Consumption: From survival to recreation[edit]
During the time of reconstruction and before the 1973 oil crisis, Japan managed to complete its industrialization process, gaining significant improvement in living standards and witnessing a significant increase in consumption. The average monthly consumption of urban family households doubled from 1955 to 1970.[15] Moreover, the proportions of consumption in Japan was also changing. The consumption in daily necessities, such as food and clothing and footwear, was decreasing. Contrastingly, the consumption in recreational, entertainment activities and goods increased, including furniture, transportation, communications, and reading.[15] The great increase in consumption stimulated the growth in GDP as it incentivized production.
Vast Export: "Golden Sixties" and shift to export trade[edit]
The period of rapid economic growth between 1955 and 1961 paved the way for the "Golden Sixties," the second decade that is generally associated with the Japanese economic miracle. In 1965, Japan's nominal GDP was estimated at just over $91 billion. Fifteen years later, in 1980, the nominal GDP had soared to a record $1.065 trillion.
Under the leadership of Prime Minister Ikeda, former minister of MITI, the Japanese government undertook an ambitious "income-doubling plan" (所得倍増). Ikeda lowered interest rates and taxes to private players to motivate spending. In addition, due to the financial flexibility afforded by the FILP, Ikeda's government rapidly expanded government investment in Japan's infrastructure: building highways, high-speed railways, subways, airports, port facilities, and dams. Ikeda's government also expanded government investment in the previously neglected communications sector of the Japanese economy. Each of these acts continued the Japanese trend towards a managed economy that epitomized the mixed economic model.
Besides Ikeda's adherence to government intervention and regulation of the economy, his government pushed trade liberalization. By April 1960, trade imports had been 41 percent liberalized (compared to 22 percent in 1956). Ikeda planned to liberalize trade to 80 percent within three years. His plans however met severe opposition from both industries who had thrived on over-loaning and the nationalist public who feared foreign enterprise takeovers. The Japanese press likened liberalization to "the second coming of the black ships," "the defenselessness of the Japanese islands in the face of attack from huge foreign capitalist powers," and "the readying of the Japanese economy for a bloodstained battle between national capital and foreign capital." Ikeda's income-doubling plan was largely a response to this growing opposition and widespread panic over liberalization, adopted to quell public protests. Ikeda's motivations were purely pragmatic and foreign policy based, however. He moved toward liberalization of trade only after securing a protected market through internal regulations that favored Japanese products and firms.
Ikeda also set up numerous allied foreign aid distribution agencies to demonstrate Japan's willingness to participate in the international order and to promote exports. The creation of these agencies not only acted as a small concession to international organizations, but also dissipated some public fears about liberalization of trade. Ikeda furthered Japan's global economic integration by joining the GATT in 1955, the IMF, and the OECD in 1964. By the time Ikeda left office, the GNP was growing at a phenomenal rate of 13.9 percent.
In 1962, Kaname Akamatsu published his famous article introducing the Flying Geese Paradigm. It postulated that Asian nations will catch up with the West as a part of a regional hierarchy where the production of commoditized goods would continuously move from the more advanced countries to the less advanced ones. The paradigm was named this way due to Akamatsu's envisioning this pattern as geese flying in unison with Japan being an obvious leader.
The Steady Increasing Stage (1973-1992)[edit]
In 1973, the first oil-price shock struck Japan (1973 oil crisis). The price of oil increased from 3 dollars per barrel to over 13 dollars per barrel. During this time, Japan's industrial production was decreased by 20%, as the supply capacity could not respond effectively to the rapid expansion of demand, and increased investments in equipment often invited unwanted results—tighter supply and higher prices of commodities.[16] Moreover, the Second Oil Shock in 1978 and 1979 exacerbated the situation as the oil price again increased from 13 dollars per barrel to 39.5 dollars per barrel. Despite being seriously impacted by the two oil crises, Japan was able to withstand the impact and managed to transfer from a product-concentrating to a technology-concentrating production form.
The transformation was in fact, a product of the oil crises and United States intervention. Since the oil price rose tenfold, the cost of production also soared. After the oil crises, to save costs, Japan had to produce products more environmentally-friendly, and with less oil consumption. The biggest factor that invited industrial changes after the oil crises was the increase in energy prices including crude oil.[17] As a result, Japan converted to a technology-concentrating program, ensuring the steady increase of its economy, and standing out beyond other capitalist countries that had been significantly wounded during the oil crises. Another factor was United States frictions with Japan, as Japan's rapid economic growth could potentially harm the economic interests of the United States. In 1985, the United States signed the "Plaza Accord" with Japan, West Germany, France and Britain. The "Plaza Accord" was an attempt to devalue the US dollar, yet harmed Japan the most. Japan attempted to expand international markets through the appreciation of the Japanese yen, yet they over-appreciated, creating a bubble economy. The Plaza Accord was successful in reducing the U.S. trade deficit with Western European nations but largely failed to fulfill its primary objective of alleviating the trade deficit with Japan.[18]
Role of the Ministry of International Trade and Industry[edit]
The Ministry of International Trade and Industry (MITI) was instrumental in Japan's post-war economic recovery. According to some scholars, no other governmental regulation or organization had more economic impact than MITI. "The particular speed, form, and consequences of Japanese economic growth," Chalmers Johnson writes, "are not intelligible without reference to the contributions of MITI" (Johnson, vii). Established in 1949, MITI's role began with the "Policy Concerning Industrial Rationalization" (1950) that coordinated efforts by industries to counteract the effects of SCAP's deflationary regulations. In this way, MITI formalized cooperation between the Japanese government and private industry. The extent of the policy was such that if MITI wished to "double steel production, the neo-zaibatsu already has the capital, the construction assets, the makers of production machinery, and most of the other necessary factors already available in-house". The Ministry coordinated various industries, including the emerging keiretsu, toward a specific end, usually toward the intersection of national production goals and private economic interests.
MITI also boosted the industrial security by untying the imports of technology from the imports of other goods. MITI's Foreign Capital Law granted the ministry power to negotiate the price and conditions of technology imports. This element of technological control allowed it to promote industries it deemed promising. The low cost of imported technology allowed for rapid industrial growth. Productivity was greatly improved through new equipment, management, and standardization.
MITI gained the ability to regulate all imports with the abolition of the Economic Stabilization Board and the Foreign Exchange Control Board in August 1952. Although the Economic Stabilization Board was already dominated by MITI, the Yoshida Governments transformed it into the Economic Deliberation Agency, a mere "think tank," in effect giving MITI full control over all Japanese imports. Power over the foreign exchange budget was also given directly to MITI.
MITI's establishment of the Japan Development Bank also provided the private sector with low-cost capital for long-term growth. The Japan Development Bank introduced access to the Fiscal Investment and Loan Plan, a massive pooling of individual and national savings. At the time FILP controlled four times the savings of the world's largest commercial bank. With this financial power, FILP was able to maintain an abnormally high number of Japanese construction firms (more than twice the number of construction firms of any other nation with a similar GDP).
Conclusion[edit]
Coincidentally, the conclusion of the economic miracle coincided with the conclusion of the Cold War. While the Japanese stock market hit its all-time peak at the end of 1989, making a recovery later in 1990, it dropped precipitously in 1991. The year of the conclusion of the Japanese asset price bubble coincided with the Gulf War and the dissolution of the Soviet Union.
See also[edit]
Economic history of Japan
Developmental state
Meiji Restoration
Japanese military modernization of 1868–1931
Flying geese paradigm
Cool Japan
Post-war economic boom
Four Asian Tigers
Taiwan Miracle
Miracle on the Han River
Wirtschaftswunder
Tiger Cub Economies
Footnotes[edit]
Jump up ^ Nakamura, Takafusa (1981). "3: Rapid Growth". The Postwar Japanese Economy: Its Development and Structure (book). trans. Jacqueline Kaninski. Tokyo: University of Tokyo Press. p. 56.
Jump up ^ Hane, Mikiso. Eastern Phoenix: Japan Since 1945. Boulder: Westview Press, 1996.
Jump up ^ Liu, Haoyuan. "日德战后经济奇迹（Japanese and Germany Postwar Economic Miracle）". Finance World.
Jump up ^ "Ranking of the World's Richest Countries by GDP (1967) - Classora Knowledge Base". en.classora.com. Retrieved 2017-12-08.
Jump up ^ Nanto, Dick Kazuyuki (1976). The United States' role in the postwar economic recovery of Japan. Massachusetts: Harvard University Press. p. 258.
^ Jump up to: a b Macnaughtan, Helen (2005). Women, work and the Japanese economic miracle : the case of the cotton textile industry, 1945-1975. New York: RoutledgeCurzon. p. 11. ISBN 0415328055.
Jump up ^ Ichiro, Nakayama (1964). Industrialization of Japan. Tokyo. p. 7.
Jump up ^ Organisation for Economic Co-operation and Development (1972). The industrial policy of Japan. Paris. p. 45.
Jump up ^ Seymour, Broadbridge (1966). Industrial dualism in Japan : a problem of economic growth and structural change. Chicago: Alpine Publication Corporation. p. 39.
Jump up ^ "朝鲜战争影响下的日本经济（Japanese Economy Under the Influence of Korean War）". 百度文库.
Jump up ^ The Oriental Economist (1967). Japan Economic Year Book. p. 23.
Jump up ^ The Oriental Economist (1968). Japanese Economic Year Book. p. 19.
Jump up ^ Thomas, vladimir (March 5, 2017). the world transformed 1945 to the present (second ed.). Michael H.hunt. p. 211.
Jump up ^ Johnson, Chalmers (1982). MITI and the Japanese Miracle: The Growth of Industrial Policy, 1925-1975. Stanford University Press. p. 211. ISBN 9780804712064.
^ Jump up to: a b Yamamura (1987). The Political Economy of Japan. Stanford: Stanford University Press. p. 102. ISBN 0804713804.
Jump up ^ Business Intercommunications Inc. (1973). White Papers on Japanese Economy, 1973. p. 16.
Jump up ^ Business Intercommunications Inc (1978). White Paper on Japanese Economy, 1978. p. 96.
Jump up ^ "Plaza Accord". Wikipedia. 2016-12-30.
References[edit]
This article cites its sources but does not provide page references. You can help to improve it by introducing citations that are more precise. (September 2010) (Learn how and when to remove this template message)
Allen, G.C. Japan's Economic Recovery. Oxford: Oxford University Press, 1958.
Allinson, Gary. Japan's Postwar History Ithaca: Cornell University Press, 1997.
Collisson, Nancy. Examination of the Influence of Japanese Culture and the Failures of Economic Reforms Proposed by Supreme Command Allied Powers (SCAP) Economic Missions from 1947 to 1949, on High Rates of Personal Savings in Japan by Nancy Collisson / EALC MA Thesis. University of Kansas Library (Call No.: ML410.T467 T58 1999), 1996.
Dower, John. Embracing Defeat: Japan in the Wake of World War II New York: W.W. Norton, 1999.
Forsberg, Aaron. America and the Japanese Miracle. Chapel Hill: University of North Carolina Press, 2000.
Hane, Mikiso. Eastern Phoenix: Japan Since 1945. Boulder: Westview Press, 1996.
Huber, Thomas. Strategic Economy in Japan. Boulder: Westview Press, 1994.
Jansen, The Making of Modern Japan, Belknap, 2000 (ISBN 0-674-00334-9)
Johnson, Chalmers. MITI and the Japanese Miracle: The Growth of Industrial Policy, 1925–1975. Stanford: Stanford University Press, 1982.
Okazaki, Tetsuji and Takafumi Korenaga. "The Foreign Exchange Allocation Policy in Postwar Japan." Changes in Exchange Rates in Rapidly Developing Countries. Ed. Takatoshi Ito and Anne Krueger. Chicago: University of Chicago Press, 1999.
–––. "Foreign exchange allocation and productivity growth in postwar Japan: a case of the wool industry" Japan and the World Economy 11 (1999): 267–285
Pyle, Kenneth. The Making of Modern Japan. 2nd ed. Lexington: D.C. Heath and Company, 1996.
Rasche, Paul. "Japan Inc. in the Debt Trap" April 2000. 26 November 2005.
Tsuru Shigeto, Japan's Capitalism: Creative defeat and beyond, 1993.
Vestal, James. Planning for Change: Industrial Policy and Japanese Economic Development, 1945–1990 Oxford: Clarendon Press. 1993.
Van Wolferen, The Enigma of Japanese Power, Vintage, 1990 (ISBN 0-679-72802-3)
External links[edit]
Zaibatsu Dissolution, Reparations and Administrative Guidance
Japan Must Shake Off U.S.–Style Globalization by Yukio Hatoyama
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From Dusk till Dawn
From Wikipedia, the free encyclopedia
Jump to: navigation, search
For other uses, see From Dusk till Dawn (disambiguation).
From Dusk till Dawn
Theatrical release poster
Directed by
Robert Rodriguez
Produced by
Gianni Nunnari
Meir Teper
Screenplay by
Quentin Tarantino
Story by
Robert Kurtzman
Starring
George Clooney
Harvey Keitel
Quentin Tarantino
Juliette Lewis
Cheech Marin
Fred Williamson
Tom Savini
Salma Hayek
Music by
Graeme Revell
Cinematography
Guillermo Navarro
Edited by
Robert Rodriguez
Production
company
Dimension Films
A Band Apart
Los Hooligans Productions
Distributed by
Miramax Films
Release date
January 19, 1996 (1996-01-19)
Running time
108 minutes
Country
United States
Language
English
Budget
$19 million[1]
Box office
$25.8 million[1]
From Dusk till Dawn is a 1996 American black comedy action horror film directed by Robert Rodriguez and written by Quentin Tarantino.[2] It stars George Clooney, Tarantino, Harvey Keitel and Juliette Lewis. After enjoying modest success at the box office, it has since become a cult film.[3] The film was conceived by Robert Kurtzman who hired Tarantino to write the script as his first paid writing assignment.[4][5]
Contents
[hide]
1 Plot
2 Cast
3 Production
3.1 References to other titles
3.2 Labor issues
4 Release
5 Reception
5.1 Awards and nominations
6 Soundtrack
7 Video game
8 Sequels
9 Television
10 See also
11 References
12 External links
Plot[edit]
Fugitive bank robbers Seth and Richie Gecko hold up and destroy a liquor store, killing the clerk and a Texas ranger. At the motel room where they are hiding out, Seth returns to find Richie has raped and murdered a bank clerk they had taken hostage.
Jacob Fuller, a pastor experiencing a crisis of faith, is on vacation with his teenage children Scott and Kate in their RV. They stop at the motel and are kidnapped by the Geckos, who force the Fullers to smuggle them over the Mexican border. In Mexico, they arrive at the Titty Twister, a strip club in the desert, where the Geckos will be met by their contact, Carlos, at dawn. Carlos will escort them to sanctuary at "El Rey," a place of safety for fugitives from justice whose admission fee is 30 percent of everything they have.
The bar employees reveal themselves as vampires and kill most of the patrons. Richie is bitten by a stripper and dies; only Seth, Jacob, Kate, Scott, a biker named Sex Machine, and Frost, a Vietnam veteran, survive. The others are reborn as vampires, including Richie, forcing the survivors to kill them all. When an army of vampires assembles outside, the survivors lock themselves in, but Sex Machine is bitten, becomes a vampire, and bites Frost and Jacob. Frost throws Sex Machine through the door, allowing the vampires to enter.
Seth and the Fullers escape to a storeroom and fashion weapons from truck cargo the vampires have looted from past victims, including a stake mounted on a pneumatic drill, a crossbow, a shotgun, and holy water, which requires Jacob to recover his faith to bless. Jacob, knowing he will soon become a vampire, makes Scott and Kate promise to kill him when he changes.
The group make their final assault on the undead. Jacob becomes a vampire, but Scott hesitates to kill him, allowing Jacob to bite him. Scott hits Jacob with holy water and shoots him. Scott is overwhelmed by vampires, who begin to devour him; he begs for death, and Kate shoots him. As vampires surround Kate and Seth, streams of morning light enter through bullet holes in the building, making the vampires back away. Carlos's bodyguards blast the door open, letting in the sunlight and killing the vampires.
Seth chastises Carlos for his poor choice of meeting place and negotiates a smaller tribute for his admission to El Rey. Kate asks Seth if she can go with him to El Rey, but he refuses, leaving her with some cash. Kate drives away in the RV, leaving the Titty Twister — in fact the top of a partially buried Aztec temple — behind.
Cast[edit]
George Clooney as Seth Gecko
Quentin Tarantino as Richard "Richie" Gecko
Harvey Keitel as Jacob Fuller
Juliette Lewis as Katherine Fuller
Ernest Liu as Scott Fuller
Salma Hayek as Santanico Pandemonium
Cheech Marin as Border Guard / Chet Pussy / Carlos
Danny Trejo as Razor Charlie
Tom Savini as Sex Machine
Fred Williamson as Frost
Michael Parks as Texas Ranger Earl McGraw
Brenda Hillhouse as Hostage Gloria Hill
John Saxon as FBI Agent Stanley Chase
Marc Lawrence as Old Timer Motel Owner
Kelly Preston as Newscaster Kelly Houge
John Hawkes as Pete Bottoms (liquor store cashier)
Tito & Tarantula as The Titty Twister House Band
Production[edit]
References to other titles[edit]
Earl McGraw became a recurring character in Rodriguez and Tarantino's works, later appearing in Kill Bill, Planet Terror and Death Proof. Chango Beer and Sex Machine's codpiece gun are references to Rodriguez's 1995 film Desperado. Seth also returns to the hotel with Big Kahuna Burgers, which were used in Pulp Fiction and mentioned in Death Proof. Seth Gecko also says the line "All right, Ramblers. Let's get ramblin'!", a quote from Tarantino's Reservoir Dogs. Scott's T-shirt decoration reads "Precinct 13", a reference to John Carpenter's 1976 film, Assault on Precinct 13.[6]
Labor issues[edit]
From Dusk till Dawn employed a non-union production crew, which is unusual for a production with a budget above $15 million.[7]
Release[edit]
From Dusk till Dawn had its world premiere on January 17, 1996.[8] On its first week, the film grossed $10,240,805 in the United States making it the highest-grossing film of the week.[9] The next week, the film fell to third highest in the box office where it grossed $4,851,921 being beaten by Mr. Holland's Opus and Bed of Roses.[10] From Dusk till Dawn earned a total of $25,836,616 on its theatrical release.[9]
Reception[edit]
Rotten Tomatoes, a review aggregator, reports that 64% of 46 surveyed critics gave the film a positive review; the average rating was 6/10. The site's consensus reads: "A pulpy crime drama/vampire film hybrid, From Dusk Till Dawn is an uneven but often deliriously enjoyable B-movie."[11] Metacritic rated it 52/100 based on 14 reviews.[12] Audiences polled by CinemaScore gave the film an average grade of "B-" on an A+ to F scale.[13]
Roger Ebert gave it three out of four stars and described it as "a skillful meat-and-potatoes action extravaganza with some added neat touches".[14] In her review for The New York Times, Janet Maslin wrote, "The latter part of From Dusk till Dawn is so relentless that it's as if a spigot has been turned on and then broken. Though some of the tricks are entertainingly staged, the film loses its clever edge when its action heats up so gruesomely and exploitatively that there's no time for talk".[15] Entertainment Weekly gave the film a "B" rating and Owen Gleiberman wrote, "Rodriguez and Tarantino have taken the let-'em-eat-trash cynicism of modern corporate moviemaking and repackaged it as junk-conscious 'attitude.' In From Dusk till Dawn, they put on such a show of cooking up popcorn that they make pandering to the audience seem hip".[16] However, in his review for the Washington Post, Desson Howe wrote, "The movie, which treats you with contempt for even watching it, is a monument to its own lack of imagination. It's a triumph of vile over content; mindless nihilism posing as hipness".[17] Cinefantastique magazine's Steve Biodrowski wrote, "Whereas one might reasonably have expected that the combo of Quentin Tarantino and Robert Rodriguez would yield a critical mass of nuclear proportions, instead of an atomic fireball's worth of entertainment, we get a long fuse, quite a bit of fizzle, and a rather minor blast".[18] In his review for the San Francisco Chronicle, Mick LaSalle called the film, "an ugly, unpleasant criminals-on-the-lam film that midway turns into a boring and completely repellent vampire 'comedy.' If it's not one of the worst films of 1996 it will have been one miserable year".[19] In Marc Savlov's review for the Austin Chronicle, he wrote, "Fans of Merchant-Ivory will do well to steer clear of Rodriguez's newest opus, but both action and horror film fans have cause for celebration after what seems like a particularly long splatter-drought. This is horror with a wink and a nod to drive-in theatres and sweaty back seats. This is how it's done".[20]
Awards and nominations[edit]
Award
Category
Subject
Result
Fangoria Chainsaw Award Best Actor George Clooney Won
MTV Movie Awards Best Breakthrough Performance Won
Saturn Awards Best Actor Won
Best Horror Film Won
Best Makeup Nominated
Best Director Robert Rodriguez Nominated
Best Supporting Actress Juliette Lewis Nominated
Best Supporting Actor Harvey Keitel Nominated
Quentin Tarantino Nominated
Best Writing Nominated
Razzie Awards Worst Supporting Actor[21] Nominated
Stinkers Bad Movie Awards Worst Supporting Actor[22] Nominated
Soundtrack[edit]
Main article: From Dusk Till Dawn (soundtrack)
The soundtrack features mainly Texas blues by such artists as ZZ Top and brothers Stevie Ray and Jimmie Vaughan on separate tracks. The Chicano rock band Tito & Tarantula, who portrayed the band in the Titty Twister, appears on the soundtrack as well. The film's score is by Graeme Revell. "Dark Night" by The Blasters plays over the film's opening and closing credits.
Video game[edit]
Main article: From Dusk Till Dawn (video game)
A video game of the same name was released in 2001. It is based on events that transpire directly after the end of the film.
Sequels[edit]
Main articles: From Dusk Till Dawn 2: Texas Blood Money and From Dusk Till Dawn 3: The Hangman's Daughter
From Dusk till Dawn was followed by two direct-to-video[23] prequels, From Dusk Till Dawn 2: Texas Blood Money and From Dusk Till Dawn 3: The Hangman's Daughter. They were both received poorly by critics.[24][25] Danny Trejo is the only actor to appear in all three, although Michael Parks appears in both From Dusk till Dawn and The Hangman's Daughter. Rodriguez, Tarantino and Lawrence Bender served as producers on all three movies.
In late 2010, it was reported that a possible fourth film in the series may be produced.[26]
Television[edit]
Main article: From Dusk till Dawn: The Series
On March 17, 2014, a television series inspired by the films premiered on the El Rey, produced and directed by Rodriguez. The show will explore and expand on the characters and story from the film, providing a wider scope and richer Aztec mythology.[27][28]
See also[edit]
Near Dark
Vampire film
References[edit]
^ Jump up to: a b "From Dusk Till Dawn (1996)". Box Office Mojo. Retrieved January 25, 2010.
Jump up ^ Tobey, Matthew. "From Dusk till Dawn". Allmovie. Rovi Corporation. Retrieved January 7, 2013.
Jump up ^ Cult Classic: From Dusk Till Dawn, by Emmet Purcell JOE.ie
Jump up ^ "ROBERT KURTZMAN INTERVIEW". backwoodshorror.com. Retrieved July 16, 2016.
Jump up ^ "From Dusk Till Dawn – The Oft Forgotten 90s Classic". January 7, 2014. Retrieved July 16, 2016.
Jump up ^ "Review: 'From Dusk Till Dawn'". Retrieved November 12, 2014.
Jump up ^ "STRIKE MAY DAWN ON 'DUSK' SHOOT". Retrieved November 14, 2014.
Jump up ^ Marshall, Fine (January 28, 1996). "'Dusk till Dawn': A top-notch ride through hell". The Daily Sentinel. p. 11. Retrieved August 6, 2013.
^ Jump up to: a b "From Dusk Till Dawn". Box Office Mojo. Internet Movie Database. Retrieved August 7, 2013.
Jump up ^ "January 26-28, 1996". Box Office Mojo. Internet Movie Database. Retrieved August 7, 2013.
Jump up ^ "From Dusk Till Dawn (1996)". Rotten Tomatoes. Retrieved December 15, 2014.
Jump up ^ "From Dusk Till Dawn". Metacritic. Retrieved December 15, 2014.
Jump up ^ "CinemaScore". cinemascore.com.
Jump up ^ Ebert, Roger (January 19, 1996). "From Dusk Till Dawn". Chicago Sun-Times. Retrieved September 30, 2009.
Jump up ^ Maslin, Janet (January 19, 1996). "Enough Blood to Feed The Thirstiest Vampires". The New York Times. Retrieved September 30, 2009.
Jump up ^ Gleiberman, Owen (February 2, 1996). "Monster Mishmash". Entertainment Weekly. Retrieved September 30, 2009.
Jump up ^ Howe, Desson (January 19, 1996). "Quentin's Dusk: Hurry Up Dawn". Washington Post. Retrieved September 30, 2009.
Jump up ^ Biodrowski, Steve (June 1996). "From Dusk Till Dawn". Cinefantastique. Retrieved September 30, 2009.
Jump up ^ LaSalle, Mick (January 19, 1996). "Tarantino Continues to Stumble in 'Dusk'". San Francisco Chronicle. Retrieved September 30, 2009.
Jump up ^ Savlov, Marc (January 19, 1996). "From Dusk Till Dawn". Austin Chronicle. Retrieved September 30, 2009.
Jump up ^ "1996 RAZZIE® Nominees & "Winners" - The Official RAZZIE® Forum". Razzies.com. Retrieved June 26, 2012.
Jump up ^ "1996 19th Hastings Bad Cinema Society Stinkers Awards". Stinkers Bad Movie Awards. Los Angeles Times. Archived from the original on January 3, 2007. Retrieved March 30, 2013.
Jump up ^ "Miramax From Dusk Till Dawn Series DVD Review". Video Vault. Archived from the original on July 14, 2012. Retrieved March 3, 2012.
Jump up ^ "Audience & Critic Reviews - From Dusk Till Dawn 2: Texas Blood Money". Rotten Tomatoes. Retrieved October 21, 2008.
Jump up ^ "Audience & Critic Reviews - From Dusk Till Dawn 3: The Hangman's Daughter". Rotten Tomatoes. Retrieved March 3, 2012.
Jump up ^ Block, Alex Ben (December 16, 2010). "Weinstein Co., Miramax Ink Deal to Produce Movie Sequels". The Hollywood Reporter. Retrieved March 5, 2012.
Jump up ^ "El Rey's 'From Dusk Till Dawn' Rounds Out Cast", by The Deadline Team
Jump up ^ "T2's Robert Patrick & More Join 'From Dusk Till Dawn: The Series'", by Craig Hunter
External links[edit]
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text:
Nice for What
From Wikipedia, the free encyclopedia
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Drake song
"Nice for What"
Single by Drake
from the album Scorpion
Released
April 6, 2018 (2018-04-06)
Format
Digital download
Genre
Bounce
Length
3:24
Label
Young Money
Cash Money
Songwriter(s)
Aubrey Graham
Shane Lindstrom
Alan Bergman
Marilyn Bergman
Dennis Coles
Robert Diggs
Gary E. Grice
Marvin Hamlisch
Lamont Hawkins
Lauryn Hill
Jason Hunter
Russell Jones
Clifford Smith
Corey Woods
Orville Hall
Phillip Price
Producer(s)
Murda Beatz
Blaqnmild (co.)
Noah "40" Shebib (add.)
Corey Litwin (add.)
Drake singles chronology
"Walk It Talk It"
(2018) "Nice for What"
(2018) "Yes Indeed"
(2018)
Music video
"Nice for What" on YouTube
"Nice for What" is a song recorded by Canadian rapper Drake from his fifth studio album Scorpion (2018). It was released by Young Money Entertainment and Cash Money Records as the second single from the album on April 6, 2018, along with its music video. The song was produced by Murda Beatz with co-production handled by Blaqnmild, and features additional vocals by Big Freedia and 5th Ward Weebie. It debuted at number one on the US Billboard Hot 100, replacing Drake's own "God's Plan" and becoming his fifth US number one.[1] It also topped the UK Singles Chart and ARIA Singles Chart, becoming his second number-one song of 2018 in the two countries after "God's Plan".[2]
Contents
1 Background
2 Composition
3 Music video
4 Critical reception
5 Commercial performance
6 Personnel
7 Charts
8 Certifications
9 Release history
10 References
Background[edit]
On March 14, 2018, Lauryn Hill's son Joshua Omaru Marley posted a snippet of the song on Snapchat.[3] Drake later confirmed an upcoming Murda Beatz-produced single during an Instagram Live session.[4] On April 5, Drake made a surprise appearance during a Majid Jordan concert in Toronto.[5][6][7] "The reason I'm here tonight is because I'm back in the city finishing my album," he told the audience. "I've got a new single dropping tomorrow night, too, just in case you got some free time."[8][9][10][11]
Composition[edit]
"Nice for What" is an upbeat bounce song which contains elements of early 2000s R&B,[12][13][14] with a length of three minutes thirty seconds.[15] It samples Lauryn Hill's song "Ex-Factor" (1998), "Drag Rap" by the Showboys (1986), "Get Your Roll On" by Big Tymers (2000), and also features clips from performances by Big Freedia.[16][17][18] Lyrically, the hook of Drake's song samples Lauryn Hill singing about "cutting loose in the midst of a relationship".[19]
Music video[edit]
Directed by Karena Evans, the accompanying music video shows women carrying out various activities, including swimming, dancing, modeling, playing with children, horse-riding, and holding a business meeting.[20] It features guest appearances from, in order of appearance,[21] Olivia Wilde, Misty Copeland, Issa Rae, Rashida Jones, Jourdan Dunn, Tracee Ellis Ross, Tiffany Haddish, Yara Shahidi, Zoe Saldana, Elizabeth and Victoria Lejonhjärta, Letitia Wright, Bria Vinaite, Emma Roberts, Syd, Michelle Rodriguez and Drake himself.[22][23][24][25] Evans called it an honour to work on the video, writing on Instagram that it was "a privilege and a blessing to have told this story with every single one of you revolutionary women, both in front and behind the camera".[26]
Critical reception[edit]
"Nice for What" received positive reviews from music critics, with many praising its promotion of female empowerment.[27][28] Hugh McIntyre of Forbes regarded the "perfectly-pitched" song as "another perfect delivery from the biggest artist in hip-hop", writing that the "vocal sample helps the track stand out from much of the rest of his discography".[20] Kevin Lozano of Pitchfork awarded the song "Best New Track", praising Drake for "smoothly handling the impeccable production from Murda Beatz", and lauding the song as "a fantastic piece of hip-hop machinery" and "one of Drake's most complete releases in some time".[29]
Chris DeVille of Stereogum deemed the song "a big, brash, almost obnoxiously loud New Orleans bounce-inspired production", describing it as "extremely poppy and sounds like a bid for continued commercial dominance".[30]
Commercial performance[edit]
In the United States, Drake became the first artist to have a new number-one debut replace his former number-one debut ("God's Plan") at the top of the Hot 100. It debuted with 88,000 downloads sold and 60.4 million streams. "Nice for What" became the 30th song in Billboard history to enter at number one. It also became Drake's fifth US number-one song overall and third as a lead artist.[1] The song also became the first song to debut on the Mainstream R&B/Hip-Hop chart in the top 10. [31] "Nice for What" topped the Hot 100 for four consecutive weeks before it was replaced on May 14, 2018 by Childish Gambino's "This Is America".[32][33][34] It then returned for a fifth non-consecutive week at the number one spot on the issue date June 2, 2018.[35] On the issue dated July 14, 2018, "Nice for What" became the first song to reach number one in four nonconsecutive runs. It has topped the Hot 100 for eight nonconsecutive weeks.[36]
Personnel[edit]
Credits adapted from Tidal and Qobuz.[15][37]
Murda Beatz – production
Blaqnmild – co-production
Noah "40" Shebib – additional production, mixing
Corey Litwin – additional production
Harley Arsenault – mixing assistance
Greg Moffet – mixing assistance
Ronald Moonoo – mixing assistance
Chris Quock – recording engineering assistance
Noel "Gadget" Campbell – mixing
Mike Gaydusek – record engineering
Big Freedia – additional vocals
5thward Weebie – additional vocals
Glenishe "Bobby Jean" Rowe – additional vocals
Charts[edit]
Chart (2018)
Peak
position
Australia (ARIA)[38]
1
Australia Urban (ARIA)[39]
1
Austria (Ö3 Austria Top 40)[40]
6
Belgium (Ultratop 50 Flanders)[41]
20
Belgium (Ultratip Wallonia)[42]
6
Canada (Canadian Hot 100)[43]
1
Canada CHR/Top 40 (Billboard)[44]
3
Czech Republic (Singles Digitál Top 100)[45]
23
Denmark (Tracklisten)[46]
3
Finland (Suomen virallinen lista)[47]
13
France (SNEP)[48]
28
Germany (Official German Charts)[49]
9
Greece (IFPI)[50]
3
Hungary (Single Top 40)[51]
29
Hungary (Stream Top 40)[52]
11
Ireland (IRMA)[53]
2
Italy (FIMI)[54]
53
Netherlands (Single Top 100)[55]
6
New Zealand (Recorded Music NZ)[56]
1
Norway (VG-lista)[57]
5
Portugal (AFP)[58]
7
Scotland (Official Charts Company)[59]
10
Slovakia (Singles Digitál Top 100)[60]
13
Spain (PROMUSICAE)[61]
62
Sweden (Sverigetopplistan)[62]
4
Switzerland (Schweizer Hitparade)[63]
7
UK Singles (Official Charts Company)[2]
1
UK R&B (Official Charts Company)[64]
1
US Billboard Hot 100[65]
1
US Dance Club Songs (Billboard)[66]
30
US Hot R&B/Hip-Hop Songs (Billboard)[67]
1
US Mainstream Top 40 (Billboard)[68]
11
US Rhythmic (Billboard)[69]
1
Certifications[edit]
Region
Certification
Certified units/Sales
Australia (ARIA)[70]
2× Platinum 140,000^
Brazil (Pro-Música Brasil)[71]
Gold 30,000*
Canada (Music Canada)[72]
4× Platinum 320,000^
Denmark (IFPI Denmark)[73]
Gold 45,000^
France (SNEP)[74]
Gold 100,000*
New Zealand (RMNZ)[75]
Platinum 30,000*
United Kingdom (BPI)[76]
Platinum 600,000
United States (RIAA)[77]
3× Platinum 378,000[78]
*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.
Various
April 6, 2018 Digital download
Young Money
Cash Money
[15]
United States
April 10, 2018 Rhythmic contemporary radio
Young Money
Cash Money
Republic
[79]
References[edit]
^ Jump up to: a b Trust, Gary (April 16, 2018). "Drake Dethrones Himself Atop Hot 100, as 'Nice for What' Debuts at No. 1, Replacing 'God's Plan'". Billboard. Retrieved April 17, 2018.
^ Jump up to: a b "Official Singles Chart Top 100". Official Charts Company. Retrieved April 14, 2018.
Jump up ^ "Listen to a Snippet of a Drake and Lauryn Hill Collaboration". Rap-Up. March 14, 2018. Retrieved April 8, 2018.
Jump up ^ Mojica, Nick (March 22, 2018). "Drake Confirms New Single on the Way Is Produced by Murda Beatz". XXL. Retrieved April 8, 2018.
Jump up ^ Wicks, Amanda (April 6, 2018). "Drake Says He's Releasing a New Song Tomorrow". Pitchfork. Retrieved April 8, 2018.
Jump up ^ Thiessen, Brock (April 6, 2018). "Drake Is Releasing a New Single Friday Night". Exclaim!. Retrieved April 8, 2018.
Jump up ^ Robles, Jonathan (April 6, 2018). "New Drake Song Is Coming Very, Very Soon". Variance. Retrieved April 8, 2018.
Jump up ^ Rolli, Bryan (April 6, 2018). "Drake Confirms He's Finishing New Album, Drops 'Nice For What' Song/Video". Forbes. Retrieved April 8, 2018.
Jump up ^ Jones, Abby (April 6, 2018). "Drake Says He's Dropping a New Single Tonight". Billboard. Retrieved April 8, 2018.
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Jump up ^ Grant, Teddy (April 6, 2018). "Drake Announces He's Dropping New Single Tonight". Ebony. Retrieved April 8, 2018.
Jump up ^ Peters, Mitchell (April 7, 2018). "Drake Drops New Lauryn Hill-Sampling Song and Video 'Nice For What': Watch". Billboard. Retrieved April 8, 2018.
Jump up ^ Peters, Micah (April 9, 2018). ""Nice for What" Is Another Inevitable Victory for Drake". The Ringer. Retrieved April 10, 2018.
Jump up ^ Ting, Jasmine (April 7, 2018). "Drake Does Everything Right in 'Nice For What'". Paper. Retrieved April 8, 2018.
^ Jump up to: a b c "Nice For What / Drake TIDAL". Tidal. Retrieved April 11, 2018.
Jump up ^ Hussein, Wandera (April 7, 2018). "Legendary New Orleans bounce producer BlaqNmilD talks co-producing "Nice For What"". The Fader. Retrieved April 9, 2018.
Jump up ^ Welsh, April (April 7, 2018). "Watch the star-studded video for Drake's new song 'Nice For What'". Fact. Retrieved April 8, 2018.
Jump up ^ Carmichael, Rodney (April 7, 2018). "Drake Bounces, Looking To Uplift Single Women As They Drop It Low". WPSU. Retrieved April 8, 2018.
Jump up ^ Arcand, Rob (April 7, 2018). "Video: Drake – "Nice For What"". Spin. Retrieved April 8, 2018.
^ Jump up to: a b McIntyre, Hugh (April 6, 2018). "Drake Drops Energetic New Single 'Nice For What'". Forbes. Retrieved April 8, 2018.
Jump up ^ Maicki, Salvatore (April 7, 2018). "A breakdown of all the cameos in Drake's "Nice For What" video". The Fader. Retrieved April 8, 2018.
Jump up ^ Kreps, Daniel (April 7, 2018). "Watch Drake's Star-Studded Video for New Song 'Nice for What'". Rolling Stone. Retrieved April 8, 2018.
Jump up ^ Young, Alex (April 7, 2018). "Drake drops new single "Nice For What" and all-star video: Watch". Consequence of Sound. Retrieved April 8, 2018.
Jump up ^ Hall, Gerrad (April 7, 2018). "Olivia Wilde, Tiffany Haddish, Issa Rae, more powerful women star in Drake's 'Nice for What' video". Entertainment Weekly. Retrieved April 8, 2018.
Jump up ^ Blais-Billie, Braudie; Wicks, Amanda (April 7, 2018). "Drake's New "Nice for What" Video Stars Issa Rae, Olivia Wilde, Rashida Jones: Watch". Pitchfork. Retrieved April 8, 2018.
Jump up ^ Saad, Nardine (April 7, 2018). "Drake lauds celebrity girl squad in new 'Nice for What' video". Los Angeles Times. Retrieved April 8, 2018.
Jump up ^ Chaplain, Chloe (April 7, 2018). "Drake 'Nice For What' track praised for promoting female empowerment". London Evening Standard. Retrieved April 8, 2018.
Jump up ^ Mapstone, Lucy (April 7, 2018). "Drake praised for empowering women with star-studded new video". Irish Independent. Retrieved April 8, 2018.
Jump up ^ Lozano, Kevin (April 7, 2018). ""Nice for What" by Drake Review". Pitchfork. Retrieved April 8, 2018.
Jump up ^ DeVille, Chris (April 7, 2018). "Drake – "Nice For What" Video". Stereogum. Retrieved April 8, 2018.
Jump up ^ Anderson, Trevor. "Drake's 'Nice for What' Marks First-Ever Top 10 Debut on Mainstream R&B/Hip-Hop Chart". Billboard. Retrieved 18 April 2018.
Jump up ^ Trust, Gary. "Drake's 'Nice for What' No. 1 on Billboard Hot 100, Post Malone's 'Psycho' No. 2 & Camila Cabello's 'Never Be the Same' Hits Top 10". Billboard. Archived from the original on May 7, 2018. Retrieved 8 May 2018.
Jump up ^ McIntyre, Hugh. "Camila Cabello and Post Malone Chart New Top 10 Hits While Drake Rules Again". Forbes. Archived from the original on May 7, 2018. Retrieved May 8, 2018.
Jump up ^ "Childish Gambino's 'This Is America' Blasts in at No. 1 on Billboard Hot 100". Billboard. Retrieved 2018-05-14.
Jump up ^ "Drake's 'Nice for What' Returns to No. 1 on Billboard Hot 100, Lil Baby, Ella Mai & BTS Earn First Top 10s". Billboard. Retrieved 2018-05-29.
Jump up ^ Trust, Gary (July 9, 2018). "Drake Claims 7 of Hot 100's Top 10, Breaking the Beatles' Record, As 'Nice For What' Returns to No. 1 For Eighth Week". Billboard. Retrieved July 10, 2018.
Jump up ^ "Nice for What - Drake". Qobuz. Retrieved April 11, 2018.
Jump up ^ "Australian-charts.com – Drake – Nice for What". ARIA Top 50 Singles. Retrieved April 21, 2018.
Jump up ^ "ARIA Australian Top 40 Urban Singles". Australian Recording Industry Association. May 14, 2018. Retrieved May 12, 2018.
Jump up ^ "Austriancharts.at – Drake – Nice for What" (in German). Ö3 Austria Top 40. Retrieved April 25, 2018.
Jump up ^ "Ultratop.be – Drake – Nice for What" (in Dutch). Ultratop 50. Retrieved April 27, 2018.
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Jump up ^ "Danishcharts.com – Drake – Nice for What". Tracklisten. Retrieved July 7, 2018.
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Jump up ^ "Drake "Nice For What"". IFPI Denmark. Retrieved June 13, 2018.
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Jump up ^ "British single certifications – Drake – Nice For What". British Phonographic Industry. Retrieved June 11, 2018. Select singles in the Format field. Select Platinum in the Certification field. Type Nice For What in the "Search BPI Awards" field and then press Enter.
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show
v
t
e
Drake songs
Discography
Comeback Season
"Replacement Girl"
So Far Gone
"Successful"
"Best I Ever Had"
"I'm Goin' In"
We Are Young Money
"Every Girl"
"BedRock"
Thank Me Later
"Fireworks"
"Over"
"Up All Night"
"Fancy"
"Miss Me"
"Find Your Love"
"9AM in Dallas"
Take Care
"Over My Dead Body"
"Headlines"
"Crew Love"
"Take Care"
"Marvins Room"
"We'll Be Fine"
"Make Me Proud"
"Lord Knows"
"HYFR (Hell Ya Fucking Right)"
"The Motto"
Nothing Was the Same
"Tuscan Leather"
"Furthest Thing"
"Started from the Bottom"
"Wu-Tang Forever"
"Worst Behavior"
"From Time"
"Hold On, We're Going Home"
"The Language"
"Too Much"
"Pound Cake / Paris Morton Music 2"
"All Me"
If You're Reading This It's Too Late
"Energy"
"Preach"
What a Time to Be Alive
"Jumpman"
Views
"Controlla"
"One Dance"
"Pop Style"
"Too Good"
"Hotline Bling"
More Life
"Free Smoke"
"No Long Talk"
"Passionfruit"
"Get It Together"
"Madiba Riddim"
"Blem"
"Gyalchester"
"Portland"
"Sacrifices"
"Teenage Fever"
"KMT"
"Glow"
"Since Way Back"
"Fake Love"
"Ice Melts"
Scary Hours / Scorpion
"God's Plan / Diplomatic Immunity"
"Nonstop"
"Emotionless"
"I'm Upset"
"Mob Ties"
"Nice for What"
"In My Feelings"
"Don't Matter to Me"
Other singles
"Forever"
"0 to 100 / The Catch Up"
"Charged Up"
"Back to Back"
"Right Hand"
"Summer Sixteen"
"Sneakin' "
"Two Birds, One Stone"
"No Frauds"
"Signs"
"Yes Indeed"
As featured artist
"100"
"4 My Town (Play Ball)"
"Amen"
"Aston Martin Music"
"Back on Road"
"Believe Me"
"Big Amount"
"Blessings"
"Both"
"Cabaret"
"Champion"
"Come and See Me"
"Come Closer"
"Deuces (Remix)"
"Diced Pineapples"
"Digital Girl (Remix)"
"Enough Said"
"Fall for Your Type"
"Fed Up"
"Feel Love"
"For Free"
"Fuckin' Problems"
"Gonorrhea"
"I Do It"
"I Invented Sex"
"I'm on One"
"In the Morning"
"It's Good"
"Know Bout Me"
"Lemon (Remix)"
"Live For"
"Look Alive"
"Love Me"
"Loving You No More"
"Mia"
"Mine"
"Moment 4 Life"
"Money to Blow"
"Mr. Wrong"
"No Complaints"
"No Guns Allowed"
"No Lie"
"No New Friends"
"No Shopping"
"No Stylist"
"Odio"
"Only"
"Poetic Justice"
"Pop That"
"R.I.C.O."
"Recognize"
"Right Above It"
"Right Here"
"Round of Applause"
"Say Something"
"She Will"
"Sicko Mode"
"Stay Schemin'"
"Still Got It"
"The One"
"The Zone"
"Throw It in the Bag (Remix)"
"To the Max"
"Trophies"
"Truffle Butter"
"Tuesday"
"Un-Thinkable (I'm Ready) (Remix)"
"Unusual"
"Used to This"
"Walk It Talk It"
"Wavin' Flag (Haiti Mix)"
"We in This Bitch 1.5"
"What's My Name?"
"What Up"
"Where Ya At"
"Who Do You Love?"
"Why You Always Hatin?"
"Work"
Retrieved from "https://en.wikipedia.org/w/index.php?title=Nice_for_What&oldid=864186351"
Categories:
2018 songs
2018 singles
Billboard Hot 100 number-one singles
Canadian Hot 100 number-one singles
Drake (musician) songs
Number-one singles in Australia
Songs written by Drake (musician)
Songs written by Raekwon
Songs written by Marvin Hamlisch
Songs written by RZA
Songs written by Method Man
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