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Ballerina (2016 film)
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Ballerina
French theatrical release poster
Directed by
Éric Summer
Éric Warin
Produced by
Laurent Zeitoun
Yann Zenou
Nicolas Duval Adassovsky
André Rouleau
Valérie d'Auteuil
Written by
Éric Summer
Laurent Zeitoun
Carol Noble
Starring
Elle Fanning
Dane DeHaan
Maddie Ziegler
Carly Rae Jepsen
Music by
Klaus Badelt
Cinematography
Jericca Cleland
Edited by
Yvann Thibaudeau
Distributed by
Entertainment One (Canada)
Gaumont (France)
Release date
19 October 2016 (2016-10-19) (Paris)
14 December 2016 (2016-12-14) (France)
24 February 2017 (2017-02-24) (Canada)
Running time
89 minutes[1]
Country
Canada
France
Language
English
Budget
$30 million[2]
Box office
$106.1 million[3]
Ballerina (titled Leap! in the United States) is a 2016 3D computer-animated musical adventure comedy film co-directed by Éric Summer and Éric Warin and written by Summer, Carol Noble and Laurent Zeitoun. A co-production between Canadian and French companies, the film follows a poor orphan girl who dreams of becoming a ballerina and gets a chance to audition for the celebrated school of the Paris Opera Ballet.
Ballerina stars the voices of Elle Fanning, Dane DeHaan, Maddie Ziegler and Carly Rae Jepsen. The film was released in cinemas in France and the United Kingdom on 12 December 2016, followed by releases in various countries over the following several months, including Canada on 24 February 2017. The film was released in the United States on 25 August 2017, with the voices of Nat Wolff (who replaced DeHaan), Kate McKinnon and Mel Brooks added.
Contents
[hide]
1 Plot
2 Cast
3 Production
4 Music
4.1 Soundtrack
5 Release
6 Reception
6.1 Box office
6.2 Critical response
7 References
8 External links
Plot[edit]
In the 1880s, eleven-year-old Félicie (Elle Fanning), a poor orphan girl who dreams of becoming a ballerina, but lacks formal training, runs away from her orphanage in rural Brittany with her best friend, Victor (Dane DeHaan), a young inventor. Together they go to beautiful Paris, but they soon become separated, and Victor becomes an office boy in Gustave Eiffel's workshop. Félicie finds her way to the Paris Opera, where the guard catches her trespassing. She is rescued by a mysterious cleaner with a limp, Odette (Carly Rae Jepsen), who agrees to let Félicie stay with her until she gets on her feet. Odette works for both the Opera and for the cruel and imperious Régine Le Haut (Julie Khaner), a wealthy restaurant owner. While helping Odette clean, Félicie spies Regine's daughter, Camille (Maddie Ziegler), practicing ballet. Camille sees Félicie, insults her, and throws Félicie's treasured music box out of the window, breaking it. As Félicie takes it to Victor for repair, she intercepts the postman who brings a letter from the Opera admitting Camille to the celebrated school of the Paris Opera Ballet; in her anger, she hides the letter and decides to assume Camille's identity to get into the school and pursue her dream, while also getting back at Camille.
Odette agrees to mentor Félicie, who later learns that Odette was a former prima ballerina. Félicie finds her training very difficult, but with Camille's letter of acceptance, she manages to take her place at the ballet school. Mérante (Terrence Scammell), the school's exacting choreographer, announces that one of the girls from the class will be chosen to dance the role of Clara in The Nutcracker. He dismisses the worst dancer in class each day. Félicie improves each day and narrowly avoids elimination, but a couple of days before the final elimination, her lie is discovered. Mérante decides to admit Camille into the class, while also letting Félicie stay; although Félicie's infraction was serious, Mérante knows that she is Odette's protege, and he has a soft spot for Odette. The night before the final elimination, Félicie neglects training to go out on a date with Rudi, a handsome boy from the school, which disappoints Odette. Victor, who has a crush on Félicie, sees Félicie with Rudi. Victor is jealous, and he and Félicie argue. The next day, Félicie is late to the audition and unable to perform well, and so the part of Clara goes to Camille.
Félicie returns to her orphanage, having lost her spirit. She has a dream about being an infant in the arms of her late mother, a ballerina, who gave her the music box. She decides to return to Paris to help Odette and apologize to Victor. While cleaning the stage, Félicie encounters Camille, and they engage in a dance battle that is witnessed by all the students, Odette and Mérante. Félicie does a grand jeté over a flight of stairs, while Camille cannot. Mérante approaches the two girls and asks them why they dance, to which Camille admits that she dances only because her mother tells her to, while Félicie speaks stirringly of dance as her inheritance and passion. Camille admits that Félicie should dance Clara. Near Eiffel's workshop, where the Statue of Liberty is being constructed, Félicie invites Victor to the performance. A furiously deranged Régine arrives, chases Félicie up to the crown of the statue and pushes her off, but Victor saves her with aid from Camille. They arrive at the Opera just in time for Félicie to don Odette's special pointe shoes; Félicie kisses Victor on the cheek, and she performs in The Nutcracker.
Cast[edit]
Elle Fanning as Félicie[4]
Dane DeHaan (Nat Wolff in the American version) as Victor[4]
Maddie Ziegler as Camille Le Haut[5]
Carly Rae Jepsen as Odette
Terrence Scammell as Mérante
Julie Khaner (Kate McKinnon in the American version) as Régine Le Haut, Camille's mother[6]
(McKinnon also voiced the Mother Superior and Félicie's mother in the American version)[7]
Mel Brooks (American version only) as M. Luteau, the supervisor of the orphanage[4]
Bronwen Mantel as the Mother Superior, the head of the orphanage
There is also a French language version of the film, with the voices of Camille Cottin as Félicie and Malik Bentalha as Victor, that premiered in France on December 14, 2016.[8]
Production[edit]
The film was produced at L'Atelier Animation in Montreal, Quebec, Canada.[9] The filmmakers used key frame animation of Aurélie Dupont and Jérémie Bélingard, two star dancers of the Paris Opera Ballet, to translate realistic dance choreography to the animated film.[10] Dupont became the de facto choreographer of the film's dance sequences.[8]
Music[edit]
The soundtrack album was released internationally by Gaumont on December 12, 2016. The album features both the film's original score composed by Klaus Badelt, and songs from other artists that are used in the film.[11] The film also features songs that are not included in the album, such as "Cut to the Feeling" and "Runaways" by Jepsen and "Suitcase" by Sia.[12][7]
Soundtrack[edit]
[show]Track listing
No.
Title
Artist
Length
1. "You Know It's About You" Magical Thinker, Stephen Wrabel 3:43
2. "Be Somebody" Chantal Kreviazuk 3:42
3. "Unstoppable" Camila Mora 4:16
4. "Blood Sweat and Tears" Magical Thinker, Dezi Paige 3:38
5. "Confident" Demi Lovato 3:27
6. "Ballerina" Klaus Badelt 4:05
7. "Dreams and the Music Box" Klaus Badelt 3:19
8. "Escaping the Orphanage" Klaus Badelt 3:50
9. "The Liberty Chase" Klaus Badelt 3:56
10. "Swan Lake, Op. 20a: Scene" Chappell Recorded 3:11
11. "Shannon Reel" Daniel Darras, Youenn Le Berre 2:38
12. "You Know It's About You" (Piano & Voice Bonus Track) Magical Thinker, Stephen Wrabel 3:36
[show]US release
No.
Title
Artist
Length
5. "Rainbow" (replacing "Confident") Liz Huett 2:54
Release[edit]
The film premiered at the Mon premier Festival on October 19, 2016,[13] and it was released in France and the UK in December 2016.[14][15] Numerous releases followed around the world.[16] Entertainment One distributed the film in Canada, with the theatrical release beginning on February 24, 2017 in Quebec[17] and March 3, 2017 elsewhere in Canada.[18][19]
In May 2016, The Weinstein Company acquired distribution rights to the film in the United States.[9] A US release was first scheduled for March 3, 2017, under the title Leap![20] The release was subsequently pushed back to April 21, 2017,[21] followed by additional casting announcements of Wolff, Brooks, and McKinnon.[4][7] It was then pushed back to August 30 and later moved up to August 25, 2017.[22]
Reception[edit]
Box office[edit]
As of 7 December 2017[update], Ballerina had grossed approximately US$106 million worldwide.[3] It opened in France on 14 December 2016 with over half a million admissions,[23] earning €2.2 million (~US$2.4 million) over the course of the weekend.[24][25] Its French gross eventually reached $14.5 million.[26] In Canada, it earned more than C$1.5 million during the first 13 days of its theatrical run, $1.1 million of which was made in Quebec.[27] It ultimately grossed a total of $3.6 million (~US$2.8 million) in Canada.[28][29] It was released on 25 August 2017 in the United States, earning $4.7 million over its opening weekend.[30] As of 7 December 2017[update] it had grossed $21.9 million in the US,[31] the film's highest-grossing territory.[26]
Critical response[edit]
On review aggregator website Rotten Tomatoes, the original version of the film holds an approval rating of 73% based on 30 reviews, with an average rating of 5.7/10.[32] On French entertainment information website AlloCiné, the film has an average grade of 3.5/5, based on 17 critics.[33] On Rotten Tomatoes, the US version of the film, entitled Leap!, has an approval rating of 37% based on 49 reviews, with an average rating of 4.8/10. The site's critical consensus reads, "From its bland story to its unremarkable animation, Leap! does little to distinguish itself from a long list of like-minded – and superior – family-friendly alternatives."[34] On Metacritic, which assigns a normalized rating to reviews, the film has a weighted average score 48 out of 100, based on 18 critics, indicating "mixed or average reviews".[35] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale.[36]
Melissa Stewart of Insights magazine of Australia called the film "a heart-warming adventure. ... With the animation capturing the elegance of ballet, it is hard not to be mesmerised by the pirouettes and grand jetés. ... [Félicie's] journey will resonate with for anyone who has experienced the sting of failure and trying to figure out how to bounce back. All of this occurs while humour is trickled throughout the movie making it enjoyable for kids and parents alike. ... [T]he themes of fighting for your passion and dreams is timeless."[37] Mike McCahill of The Guardian wrote: "It's attentively, attractively designed – with a real eye for the light hitting the buildings of a city under construction – but a shade more Black Swan in its DNA might have made the happy ending less inevitable and its pep less repetitive."[38]
References[edit]
Jump up ^ "Ballerina". British Board of Film Classification. Retrieved 1 February 2017.
Jump up ^ Keslassy, Elsa (14 May 2013). "'Ballerina': Quad, Gaumont Dance Pas de Deux". Variety. Retrieved 14 May 2013.
^ Jump up to: a b "Leap! (2017)". Box Office Mojo. Retrieved 7 December 2017.
^ Jump up to: a b c d Calvario, Liz. "Leap! Trailer: Elle Fanning and Nat Wolff Dare to Dream in Animated Film", Deadline.com, March 11, 2017
Jump up ^ Moniuszko, Sara M. (August 24, 2017). "'Leap!' is a major jump for Maddie Ziegler's budding acting career"". USA Today. Retrieved January 15, 2018.
Jump up ^ Smith, Damon. "Film: On your toes – dreams do come true in fantasy adventure", The Irish News, 23 December 2016; and Ballerina press kit, Gaumont, Medias.unifrance.org, accessed 23 December 2015
^ Jump up to: a b c Fleming Jr, Mike (17 March 2017). "Kate McKinnon Leaps Into Animated Pic With Trio of Voices". Deadline. Retrieved 17 March 2017.
^ Jump up to: a b Benamon, Sophie. "Ballerina, ou comment monter un dessin animé historique qui s'émancipe des clichés", L'Express, December 14, 2016
^ Jump up to: a b Seetoodeh, Ramin; Keslassy, Elsa (11 May 2016). "Cannes: Weinstein Co. Acquires U.S. Rights to Gaumont's Animated Film Ballerina (EXCLUSIVE)". Variety. Retrieved 23 December 2016.
Jump up ^ Tanya. "Gaumont's Ballerina Bringing Ballet's Etoiles to the Big Screen", Voices.com, December 6, 2016
Jump up ^ "'Ballerina' Soundtrack Details". Film Music Reporter. 10 December 2016. Retrieved 23 December 2016.
Jump up ^ Tom, Lauren (26 May 2017). "Carly Rae Jepsen Releases 'Leap' Track 'Cut to the Feeling': Listen". Billboard.
Jump up ^ "Mon premier Festival programme". Mon premier Festival. Archived from the original on 12 October 2016. Retrieved 5 October 2016.
Jump up ^ West, Brianna (6 October 2016). "Maddie Ziegler and Elle Fanning's New Ballerina Movie Trailer Is Here". Teen Vogue. Retrieved 23 December 2016.
Jump up ^ Billington, Alex. "UK Trailer for French animated film Ballerina", FirstShowing.net, 4 October 2016
Jump up ^ "Leap!: Foreign", Box Office Mojo, accessed June 13, 2017
Jump up ^ Hontebeyrie, Isabelle (February 18, 2017). "Ballerina: le Québec entre dans l'animation". Canoe.ca. Postmedia Network. Retrieved March 7, 2017.
Jump up ^ "Ballerina-Showtimes & Trailer-Landmark Cinemas". Landmark Cinemas. Retrieved March 7, 2017.
Jump up ^ "eOne Films Canada - Film Listings". Entertainment One Films Canada. Entertainment One. Retrieved March 7, 2017.
Jump up ^ Milligan, Mercedes. "Weinstein Hops on Ballerina Animation Leap!", Animation Magazine, 23 December 2016
Jump up ^ D'Alessandro, Anthony. "Weinstein Co.’s Ballerina Animated Pic ‘Leap!’ Jumps To April", Deadline.com, February 7, 2017, accessed February 9, 2017.
Jump up ^ D'Alessandro, Anthony; Busch, Anita (July 21, 2017). "Weinstein Co.'s Ballerina Toon Leap! Jumps Up From Labor Day – Update". Deadline.com.
Jump up ^ "Box Office du film Ballerina". AlloCiné. Retrieved 25 August 2017.
Jump up ^ "France Box Office – December 14–18, 2016". Box Office Mojo. Retrieved 28 August 2017.
Jump up ^ "France Box Office – December 14–18, 2016 (US dollars)". Box Office Mojo. Retrieved 28 August 2017.
^ Jump up to: a b "Leap! (2017) – International Box Office Results". Box Office Mojo. Retrieved 7 December 2017.
Jump up ^ Pinto, Jordan (10 March 2017). "Ballerina breaks $1.5 million at domestic box office". Playback. Retrieved 25 August 2017.
Jump up ^ "Hot Sheet: Top 5 Canadian films May 5 to 11, 2017". Playback. Brunico Communications. 16 May 2017. Retrieved 26 August 2017.
Jump up ^ "Ballerina (2017) [Canada Only]". Box Office Mojo. Retrieved 28 August 2017.
Jump up ^ "Leap! (2017) – Weekend". Box Office Mojo. Retrieved 28 August 2017.
Jump up ^ "Leap! (2017) – Releases". Box Office Mojo. Retrieved 7 December 2017.
Jump up ^ "Ballerina (2016)". Rotten Tomatoes. Retrieved 21 August 2017.
Jump up ^ "Critiques Presse pour le film Ballerina". AlloCiné (in French). Retrieved 25 August 2017.
Jump up ^ "Leap! (2017)". Rotten Tomatoes. Retrieved 6 October 2017.
Jump up ^ "Leap! reviews". Metacritic. Retrieved 2 September 2017.
Jump up ^ D'Allesandro, Anthony (August 25, 2017). "The Hitman's Bodyguard' Tries To Deflect Hurricane Harvey & Mayweather-McGregor". Deadline.com.
Jump up ^ Stewart, Melissa. "The choreography of dreams", Insights, Uniting Church in Australia, December 12, 2016
Jump up ^ McCahill, Mike. "Ballerina review – pleasantly pirouetting 'toon", The Guardian, December 15, 2016
External links[edit]
Official website
Ballerina on IMDb
[show]
v
t
e
E. T. A. Hoffmann's The Nutcracker and the Mouse King (1816)
Ballet
The Nutcracker (Tchaikovsky)
The Nutcracker (Balanchine)
The Nutcracker (Christensen)
Music
The Nutcracker Suite (Ellington)
The Nutcracker Suite (Sparks)
"Nut Rocker"
Animation
The Nutcracker (1973)
Nutcracker Fantasy (1979)
Care Bears Nutcracker Suite (1988)
The Nutcracker Prince (1990)
The Nuttiest Nutcracker (1999)
Barbie in the Nutcracker (2001)
Tom and Jerry: A Nutcracker Tale (2007)
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The Nutcracker (1967)
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The Bitch Is Back (Veronica Mars)
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"The Bitch Is Back"
Veronica Mars episode
Veronica walks away from the voting booth in the rain after casting a probably insignificant vote for her father. Regarding the imagery of the scene, series creator Rob Thomas stated that it was "a pretty melancholy way to go out".
Episode no.
Season 3
Episode 20
Directed by
Michael Fields
Written by
Rob Thomas
Diane Ruggiero
Featured music
"It Never Rains in Southern California"
Production code
3T5820
Original air date
May 22, 2007 (2007-05-22)
Running time
42 minutes[1]
Guest appearance(s)
Kyle Secor as Jake Kane
Max Greenfield as Deputy Leo D'Amato
Matthew Alan as Gorya "Gory" Sorokin
Joaquin Perez Campbell as Domonick Desante
David Tom as Chip Diller
Chastity Dotson as Nish Sweeney
Christopher B. Duncan as Clarence Wiedman
K. C. Clyde as Deputy Gills
Episode chronology
← Previous
"Weevils Wobble But They Don't Go Down" Next →
—
Veronica Mars (season 3)
List of Veronica Mars episodes
"The Bitch Is Back" is the series finale of the American mystery television series Veronica Mars, the twentieth and final episode of the show's third season, and the 64th episode overall. Co-written by series creator Rob Thomas and executive producer Diane Ruggiero and directed by Michael Fields, the episode premiered on The CW on May 22, 2007, directly after the previous episode, "Weevils Wobble But They Don't Go Down". The series depicts the adventures of Veronica Mars (Kristen Bell) as she navigates life as a college student while moonlighting as a private detective.
In this episode, Veronica investigates the origins of a sex tape of her and Stosh "Piz" Piznarski (Chris Lowell). Renouncing Logan Echolls (Jason Dohring) because he assaulted Piz, Veronica eventually discovers that the perpetrators are a secret society at Hearst College known as the Castle, headed by Jake Kane (Kyle Secor). Meanwhile, Parker Lee (Julie Gonzalo) ends her relationship with Logan, and Keith Mars (Enrico Colantoni) navigates the issues surrounding his candidacy in the upcoming sheriff's election.
Several days prior to airing "The Bitch Is Back", The CW announced that the series was cancelled. In an effort to prevent Veronica Mars from being cancelled, Thomas had filmed a twelve-minute pitch for a concept involving Veronica in the FBI Academy, but it was rejected. When writing the episode, Thomas and Ruggiero removed seven minutes of material from the original cut; they wanted to create an ambiguous finale that did not resolve everything neatly. At the time of its original broadcast, the episode was viewed by 2.15 million people and received mostly positive reviews from television critics.
Contents
1 Plot
2 Production
2.1 Writing, filming, and promotion
2.2 FBI pitch
2.3 Cancellation
3 Analysis
4 Reception
4.1 Ratings
4.2 Reviews
5 References
6 External links
Plot[edit]
Logan informs Veronica about the sex tape of her and Piz and hands her a DVD, although she berates him and denies that the recording is authentic. She views the tape and goes to visit Piz, who is badly bruised. She makes sure that Piz did not upload the footage to the internet, which he confirms. After learning that Logan had attacked Piz, Parker visits Logan's hotel room and tearfully breaks up with him, claiming that he still loves Veronica. Veronica goes to Logan's hotel room and berates him for attacking Piz. She confronts Dick about the origins of the sex tape, and he reveals that he got it from Chip Diller before forwarding it to his whole address book. She investigates further before encountering a student who refuses to tell her anything. She gets Weevil to destroy the student's car, and he names the individual[clarification needed], whom she later wiretaps.
Veronica learns that there may be a connection to a fraternity, and Wallace (Percy Daggs III) informs her that it is the secret society for which he is being recruited, the Castle. Wallace tells her that the equipment used to tape him was similar to that which was used to film Veronica and Piz. He starts to go through initiation with the group in order to ascertain the members' identities for Veronica. The members make him go into a room and ask him very personal questions, electrically shocking him if he answers untruthfully. When they find out that Veronica has sent Wallace, they forcibly remove him, but he is able to figure out the identity of one of the other recruits. Veronica sneaks into the house of the recruit Wallace names and sees a large portrait of Lilly Kane (Amanda Seyfried). She hears voices and hides behind a curtain before two men emerge. They speak about the Castle, and Veronica discovers that one of them is Jake Kane. After they leave, Veronica steals his computers. Keith investigates the robbery the following day, spotting Veronica on surveillance cameras; however, he does not initially report his daughter. Veronica asks Mac (Tina Majorino) whether any computer could crack Jake's password, and she is taken to a supercomputer on campus.
Keith questions Veronica about whether or not she broke into the house, despite knowing her guilt. Jake and a county prosecutor tell Keith that they will get a judge's order and will return to prosecute Veronica. The supercomputer processes the names of all the Castle members just as Keith hands over the surveillance tape to the county prosecutor. Logan tries to apologize to Veronica. One of the Castle members comes up and tells her that the organization videotaped her, and Logan assaults him. Veronica returns the tape to Jake Kane on the condition that he does not tell Keith about it. She sees in the newspaper that charges have been filed against Keith for tampering with evidence relating to Veronica's break-in, likely meaning that he will lose the votes needed to win the sheriff's election. She goes into a voting booth and votes for Keith as sheriff, walking away in pouring rain.
Production[edit]
Writing, filming, and promotion[edit]
"The Bitch Is Back" was co-written by series creator Rob Thomas and executive producer Diane Ruggiero and directed by Michael Fields. The episode marked Thomas's ninth writing credit,[2] Ruggiero's seventeenth installment of the series,[3] and Fields's eighth episode.[4] The scene in which Veronica rebukes Logan was included because the writers thought that it would be a good note on which to end a season, even though it would not be the two characters' final interaction in the series. Fields was heavily involved with the actors during filming of this scene.[5]
Thomas highlighted the scene in which Logan attacks the Castle member for showcasing the romantic ambiguity between Logan, Veronica, and Piz. Thomas counseled Lowell about his facial expression before filming, and he was pleased with the end result, stating that "it breaks my heart".[5] While editing the final script, Thomas and Ruggiero had to remove roughly seven minutes from the original draft, including a scene featuring dialogue between Veronica and Leo. Later, Thomas thought that removing this scene made one voiceover by Veronica too sudden.[5]
Thomas called the scene in which Keith makes Veronica dinner "quintessential Keith" and indicative of his lasting commitment to his daughter.[5] Despite knowing that the episode could be the series finale, Thomas did not want it to completely resolve all plot lines; his intention was to keep viewers guessing and prevent the conclusion from being too bland or typical.[5] He ultimately felt that the final shot of Veronica walking away from the voting booth in the rain was "a pretty melancholy way to go out".[5] The song "It Never Rains in Southern California" by Albert Hammond plays during the final scene.[6] In promotional advertising for the episode, The CW billed it as a season finale, despite the fact that the series had already been cancelled.[7]
FBI pitch[edit]
Series creator Rob Thomas created the FBI concept.
Before cancellation, Thomas proposed his idea for season four to take place in the FBI Academy.[8] Prior to the airing of "Un-American Graffiti", Enrico Colantoni stated that The CW had seen the filmed first ten pages and reacted negatively.[9] However, Thomas denied this assertion and commented that The CW had not yet seen the FBI pitch. He added that it would be presented on May 2, the day after the series came off a two-month hiatus. Thomas's statement was confirmed by a representative for the network.[10]
Thomas filmed a twelve-minute teaser for his new concept and presented it to The CW. The teaser was later released on the Veronica Mars third season DVD and the internet.[11][12] The clip begins in medias res with Veronica, pretending to be a high schooler, talking to a teacher. The teaser flashes back to her first FBI meeting, and the viewers discover that she is investigating the teacher for sexual abuse allegations. She successfully catches the teacher on camera, and at the FBI, she runs into a former acquaintance named Seth. She investigates a potential bomber with another novice agent, and they speak to a man who appears to be innocent. However, he points a gun at Veronica's partner as the clip ends.[13]
Thomas had initially planned for Veronica to be in the FBI during a hypothetical seventh or eighth season of Veronica Mars. He accelerated his initial vision of the show in an attempt to prevent its cancellation.[5] Although he believed that the new concept would appeal to CW executives, he commented, "I'd be thrilled for [Veronica] to come back in any incarnation."[14]
The teaser was presented to the network on May 2, 2007.[10] Nellie Andreeva of The Hollywood Reporter wrote that Dawn Ostroff, president of The CW at the time, had responded positively to the new concept.[15] The series's title might have been changed if the FBI idea had been accepted.[16] The CW had recently cancelled Gilmore Girls, leading some news outlets to speculate that Veronica Mars might be renewed in order to fill a schedule hole.[16][17] Several cast members, including Gonzalo and Lowell, had taken other acting opportunities in anticipation of the series's cancellation.[17] Nevertheless, Thomas stated, "I don't think we're dead; I kind of like our chances."[16]
Cancellation[edit]
Michael Ausiello initially reported on the series's cancellation.
Veronica Mars was one of roughly five series being considered for cancellation by the network in 2007.[14] At The CW's upfront conference, critic Michael Ausiello asked Ostroff about the fate of the show. She responded that Thomas and Bell could work together on another show for the network, but she thought that this possibility was unlikely. She said that "it could come back in some form, but I don't know what form that would be".[18] Thomas responded, "I assume that anything Dawn would be talking about in the realm of a Rob–Kristen project would involve a new from-scratch pilot as they don't have me in a deal, and they'll lose Kristen in a couple of weeks."[19]
At the conference, Ostroff officially cancelled the series, saying about the FBI idea that "it's not going to happen".[20] Upon the cancellation of the series, a group of fans who called themselves the "Cloud Watchers" sent more than 10,000 Mars bars to The CW,[21] hoping that the network would reverse its decision and renew the series.[22] Several years after cancellation, Thomas expressed interest in creating a feature film based on the show.[23]
Analysis[edit]
As Veronica Mars walked down Southern California's rainy streets and off our screens for the very last time, the point seemed emphatically clear and killingly accurate. Life's a bitch until you die.
Roger Holland, PopMatters[24]
Several reviewers have commented on themes of the episode; topics of discussion included the relationship between parents and children, class relations, the scene in which Logan attacks the perpetrator in Veronica's sex tape case, and the final scene in relation to the overall moral of the series. According to Rowan Kaiser of The A.V. Club, the episode contained a role reversal between Veronica and Keith, with Keith violating the law. He noted the scene in which Keith erases the surveillance tapes of Veronica as illustrating the theme that "the two aren't so different after all."[25] Roger Holland of PopMatters thought that the episode demonstrated that Veronica and Keith's relationship was the central component of the show: "it was all about Veronica and Keith. And beyond that, about parents, children, and the myriad ways they can fuck each other up."[24] Stephanie Zacharek, writing for Salon, thought that the final scenes of "The Bitch Is Back" "cement the dour reality, posited at the very beginning of the series, that the rich ... are always going to be the ones in charge."[26]
Holland referred to Veronica's line "I don't want his apology" in the scene in which Logan assaults Gorya Sorokin as indicative of one of the main themes of the series: "She's not interested in apologies. She's driven by a nihilistic need for action and payback."[24] Eric Goldman of IGN wrote that the scene "had an air of ambiguity that could be interpreted in many ways."[27] The reviewer elaborated that Veronica's smile could have indicated further romantic interest or that Logan might have been killed in retaliation for attacking Gorya.[27] Zacharek stated that the episode's ending "[felt] truncated, unfinished. It gave us no clear signposts telling us where, exactly, these characters are headed next, where they'll end up."[26] Holland said that the theme of the final scene "seemed emphatically clear and killingly accurate. Life's a bitch until you die."[24] Goldman wrote that the ending was fitting for the series: "Veronica Mars wasn't exactly a show that was driven by happy thoughts or events, even though we wouldn't have minded the characters ending up happy."[27]
Reception[edit]
Ratings[edit]
On its initial showing, "The Bitch Is Back" was viewed by 2.15 million viewers, ranking 74th of 85 in the weekly rankings. This figure was an increase from the previous episode, "Weevils Wobble But They Don't Go Down", which aired immediately prior and garnered 1.78 million watchers.[28] However, this number was a ratings decrease from both the third season premiere, "Welcome Wagon", and the previous season finale, "Not Pictured", which received 3.36 and 2.42 million viewers, respectively.[29][30]
Reviews[edit]
Enrico Colantoni's performance was frequently singled out for praise.
The episode received mostly positive reviews from television critics. Eric Goldman of IGN graded the episode an 8.3 out of 10, indicating that it was "great". He thought that the finale did not resolve every plot line by the end of the episode. However, he did not blame the writers, because they were not planning for the episode to be a series finale. He enjoyed the final scene between Logan, Veronica, and Piz because of the variety of different ways in which it could be interpreted. While he expressed some frustration over Keith's criminal charges and the ambiguity regarding the outcome of the sheriff's election, he opined that one could still take away important messages from the show because of Keith's actions in the episode. The reviewer also lauded the final scene, writing that "the melancholy feeling of the final scene – with Veronica walking through the rain, having cast a vote for her dad that is probably meaningless – felt right for the series".[27]
Amy Ratcliffe of IGN listed "The Bitch Is Back" as the eighth-best episode of Veronica Mars. She wrote that the episode "brings the show full circle", returning Veronica to the position of a social outcast, and concluded by describing the episode as "a winner".[31] Alan Sepinwall, on his blog, What's Alan Watching?, praised the episode, stating that it was one of his favorite installments of the series. He thought that the series's early film noir influences returned in the finale, a choice he lauded. In addition, he commended Bell and Colantoni's performances, stating that the final scene "is a bleak ending, but strangely appropriate".[32]
Television Without Pity graded the episode an "A".[33] Rowan Kaiser, writing for The A.V. Club, praised the finale, writing that it functioned well within the context of the series and the season:
"We get significant emotional resolution between Keith and Veronica, whose relationship is the core of the show. We get to see Veronica being a badass, which is when Veronica Mars is at its most entertaining. All the supporting characters get something defining to do. The show engages with its history. And most importantly, it's a fantastic episode."
He went on to laud the interaction between Veronica and Keith and the latter's eventual sacrifice for his daughter. In addition, he felt that the supporting characters, including Wallace, Parker, and Piz, also received appropriate sendoffs. He later ranked the episode as his fifth-favorite of the series.[25] Kelly West of Cinema Blend gave a mixed review. She enjoyed the elements that resembled the first season, such as the return of Jake Kane and the portrait of Lilly. She thought that "The Bitch Is Back" was satisfying within the context of the season, but that it was too ambiguous for a series finale: "How can the show not come back? How can they leave us with Veronica and Logan still apart?"[34]
Stephanie Zacharek of Salon felt positively about the episode itself but ambivalent about the lack of resolution, stating, "I'm not sure if Tuesday night's finale is a deeply unsatisfying way to close out a series that's ending before its time or the only way to end such a series." However, she blamed the network for this ending. She also commented on the tone and themes of the episode, arguing that one of the series's main takeaways was that the rich would always be in charge. However, she did not view the finale as being spiteful and pessimistic: "'Veronica Mars' has always been a clear-eyed show, never a bitter one."[26] Tanner Stransky of Entertainment Weekly felt unsatisfied with the episode's conclusion, partially because Veronica and Logan did not resume dating. However, he praised the sex-tape mystery and the plot involving the Castle because of their similarities to earlier seasons. He also praised Keith's actions, stating, "Okay, maybe I'm a sap, but this tugged at my heartstrings a bit and left me relieved there wasn't a dreaded Veronica–Keith battle at the end." Stransky concluded by saying that "the end is fine".[35] Sydney Bucksbaum of Zap2it felt disappointed because of the ambiguous endings of Keith's arc and Veronica's love triangle. Although she was positive towards "The Bitch Is Back" as a standalone episode, she found herself hoping that there were another episode to the season: "Watching Veronica walk out into the pouring rain all alone after casting a probably insignificant vote for her dad was depressing, symbolic (rain in SoCal?), and just downright unsatisfying."[36]
Roger Holland of PopMatters praised the episode. He wrote that the finale "took us all the way back to the heart of Veronica Mars". Although he also commented on the lack of closure in "The Bitch Is Back", he still believed that the finale highlighted some of the main themes of the series. "The final scenes of Veronica Mars offered no sense of closure. Rather, we were left with the sense [that] we'd been denied a genuinely thrilling fourth season".[24] The TV Addict lauded the episode for returning to the tone and themes of the first season, calling it "the perfect mix of mystery, excitement, romance and snappy one-liners". The publication also praised Bell and Colantoni's performances.[37] Jesse Hastenger of PopMatters graded the episode an 8 out of 10.[7] Kath Skerry of Give Me My Remote expressed dissatisfaction with The CW for cancelling the series, but she praised the episode as a standalone installment: "As for the final two episodes themselves, they would have been magnificent season finales. It was classic Veronica Mars. Drama, comedy, inside jokes [...] and callbacks to yesteryear."[38] On his blog, Cultural Learnings, critic Myles McNutt said that Colantoni should have been nominated for a Primetime Emmy Award for Outstanding Lead Actor in a Drama Series for his performance in the episode, saying that "this final sacrifice is Colantoni's strongest character arc all season and is the proper episode selection for the actor."[39] On a ranking of all 64 Veronica Mars episodes, BuzzFeed ranked the episode 54th, declaring that it was "extremely disappointing" and "pretty dull".[40]
References[edit]
Jump up ^ "Veronica Mars Season 3". Amazon.com. Retrieved March 2, 2016.
Jump up ^ "Rob Thomas (II)". TV.com. Retrieved January 30, 2015.
Jump up ^ "Diane Ruggiero". TV.com. Retrieved January 30, 2015.
Jump up ^ "Michael Fields". TV.com. Retrieved January 30, 2015.
^ Jump up to: a b c d e f g Veronica Mars: The Complete Third Season (DVD commentary). Rob Thomas. Hollywood, California: Warner Home Video. 2007.
Jump up ^ Pelish, Alyssa (March 22, 2014). "A Long Time Ago, We Used To Be Friends: On 'Veronica Mars', The Movie". Los Angeles Review of Books. Retrieved February 3, 2016.
^ Jump up to: a b Hassenger, Jesse (May 28, 2007). "Veronica Mars". PopMatters. Retrieved April 11, 2016.
Jump up ^ Andreeva, Nellie (March 16, 2007). "'Veronica' Toys with Time Warp". Yahoo! News. Archived from the original on March 22, 2007. Retrieved December 26, 2015.
Jump up ^ Salem, Rob (April 20, 2007). "Veronica Still Lives". Toronto Star. Retrieved December 27, 2015.
^ Jump up to: a b Ausiello, Michael (April 21, 2007). "Exclusive: Veronica Mars' FBI Pitch Not Dead!". TV Guide. Retrieved December 27, 2015.
Jump up ^ Tyner, Adam (November 21, 2007). "Veronica Mars: The Complete Third Season". DVD Talk. Retrieved January 31, 2015.
Jump up ^ Armstrong, Jennifer (October 31, 2007). "'Veronica Mars': The Fourth Season Lives (On the Internet, Anyway)". Entertainment Weekly. Retrieved January 31, 2015.
Jump up ^ "Veronica Mars: The Complete Third Season". Amazon.com. Retrieved February 1, 2016.
^ Jump up to: a b Setoodeh, Ramin (May 6, 2007). "TV: An Identity Crisis at the New CW Network". Newsweek. Retrieved February 7, 2016.
Jump up ^ Andreeva, Nellie (May 9, 2007). "CW's 'Gossip', 'Veronica' Closer to Pickup". The Hollywood Reporter. Retrieved February 1, 2016.
^ Jump up to: a b c Goldman, Eric (May 8, 2007). "'Veronica Mars' Renewal More Likely". IGN. Retrieved February 1, 2016.
^ Jump up to: a b De Leon, Kris (May 11, 2007). "Veronica Mars Close to Renewal". BuddyTV. Retrieved February 1, 2016.
Jump up ^ Ausiello, Michael (May 17, 2007). "Live CW Upfront Coverage; The Verdict on Veronica Mars". TV Guide. Archived from the original on May 19, 2007. Retrieved February 1, 2016.
Jump up ^ Ausiello, Michael (May 19, 2007). "Veronica Mars' Boss: "Very, Very Sad Day"". TV Guide. Archived from the original on May 19, 2007. Retrieved February 1, 2016.
Jump up ^ "Veronica Mars Officially Cancelled". The TV Addict. May 17, 2007. Retrieved February 1, 2016.
Jump up ^ "Empire: Features – Veronica Mars". Empire. Retrieved September 20, 2008.
Jump up ^ Menon, Vinay (June 12, 2007). "Mars Bars can't save Veronica". Toronto Star. Retrieved September 16, 2008.
Jump up ^ O'Connor, Mickey (January 16, 2009). "Rob Thomas: Veronica Mars Movie Is Next". TV Guide. Retrieved February 1, 2016.
^ Jump up to: a b c d e Holland, Roger (May 28, 2007). "Veronica Mars". PopMatters. Retrieved February 4, 2016.
^ Jump up to: a b Kaiser, Rowan (May 4, 2012). "Review: Veronica Mars: "The Bitch Is Back"". The A.V. Club. Retrieved February 4, 2016.
^ Jump up to: a b c Zacharek, Stephanie (May 23, 2007). "Finale Wrap-Up: 'Veronica Mars'". Salon. Retrieved February 4, 2016.
^ Jump up to: a b c d Goldman, Eric (May 23, 2007). "Veronica Mars: "The Bitch Is Back" Review". IGN. Retrieved February 3, 2016.
Jump up ^ "Weekly Program Rankings". ABC Medianet. May 30, 2007. Archived from the original on November 29, 2014. Retrieved July 23, 2008.
Jump up ^ "Weekly Program Rankings". ABC Medianet. October 10, 2006. Archived from the original on July 25, 2014. Retrieved July 23, 2008.
Jump up ^ "Weekly Program Rankings". ABC Medianet. May 16, 2006. Archived from the original on July 25, 2014. Retrieved May 29, 2015.
Jump up ^ Ratcliffe, Amy (March 13, 2014). "The Top 10 Veronica Mars Episodes". IGN. Retrieved February 3, 2016.
Jump up ^ Sepinwall, Alan (May 23, 2007). "Veronica Mars: Rob Thomas Is a Whore". What's Alan Watching?. Retrieved February 3, 2016.
Jump up ^ "Veronica Mars "The Bitch Is Back" Recap". Television Without Pity. May 21, 2007. Archived from the original on July 17, 2014. Retrieved February 3, 2016.
Jump up ^ West, Kelly. "TV Recap: Veronica Mars – "Weevils Wobble" and "The Bitch Is Back"". Cinema Blend. Retrieved February 4, 2016.
Jump up ^ Stransky, Tanner (May 23, 2007). "The End of 'Veronica Mars': Unresolved Mysteries". Entertainment Weekly. Retrieved February 4, 2016.
Jump up ^ Bucksbaum, Sydney (March 7, 2014). "'Veronica Mars' Newbie Reacts to the Series Finale Cliffhanger". Zap2it. Retrieved February 4, 2016.
Jump up ^ "Thoughts on the 'Veronica Mars' Series Finale". The TV Addict. May 23, 2007. Retrieved February 4, 2016.
Jump up ^ Skerry, Kath (May 23, 2007). "Veronica Mars Series Finale and Why I Hate the CW". Give Me My Remote. Retrieved February 4, 2016.
Jump up ^ McNutt, Myles (June 16, 2007). "For Your Consideration: Lead Actors – Tony Shalhoub and Enrico Colantoni". Cultural Learnings. Retrieved February 4, 2016.
Jump up ^ Bordages, Anais (March 10, 2014). "The Definitive Ranking of All Veronica Mars Episodes". BuzzFeed. Retrieved March 30, 2016.
External links[edit]
Wikiquote has quotations related to: Veronica Mars#The Bitch Is Back
"The Bitch Is Back" on IMDb
"The Bitch Is Back" at Mars Investigations
hide
v
t
e
Veronica Mars
Episodes
Season 1
"Pilot"
"Credit Where Credit's Due"
"Meet John Smith"
"The Wrath of Con"
"You Think You Know Somebody"
"Return of the Kane"
"The Girl Next Door"
"Like a Virgin"
"Drinking the Kool-Aid"
"An Echolls Family Christmas"
"Silence of the Lamb"
"Clash of the Tritons"
"Lord of the Bling"
"Mars vs. Mars"
"Ruskie Business"
"Betty and Veronica"
"Kanes and Abel's"
"Weapons of Class Destruction"
"Hot Dogs"
"M.A.D."
"A Trip to the Dentist"
"Leave It to Beaver"
Season 2
"Normal Is the Watchword"
"Driver Ed"
"Cheatty Cheatty Bang Bang"
"Green-Eyed Monster"
"Blast from the Past"
"Rat Saw God"
"Nobody Puts Baby in a Corner"
"Ahoy, Mateys!"
"My Mother, the Fiend"
"One Angry Veronica"
"Donut Run"
"Rashard and Wallace Go to White Castle"
"Ain't No Magic Mountain High Enough"
"Versatile Toppings"
"The Quick and the Wed"
"The Rapes of Graff"
"Plan B"
"I Am God"
"Nevermind the Buttocks"
"Look Who's Stalking"
"Happy Go Lucky"
"Not Pictured"
Season 3
"Welcome Wagon"
"My Big Fat Greek Rush Week"
"Wichita Linebacker"
"Charlie Don't Surf"
"President Evil"
"Hi, Infidelity"
"Of Vice and Men"
"Lord of the Pi's"
"Spit & Eggs"
"Show Me the Monkey"
"Poughkeepsie, Tramps and Thieves"
"There's Got to Be a Morning After Pill"
"Postgame Mortem"
"Mars, Bars"
"Papa's Cabin"
"Un-American Graffiti"
"Debasement Tapes"
"I Know What You'll Do Next Summer"
"Weevils Wobble But They Don't Go Down"
"The Bitch Is Back"
Characters
Veronica Mars
Cassidy "Beaver" Casablancas
Wallace Fennel
Don Lamb
Parker Lee
Cindy "Mac" Mackenzie
Keith Mars
Stosh "Piz" Piznarski
Others
Locations
Play It Again, Dick
Film
"We Used to Be Friends"
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text:
Toys in the Attic (album)
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Toys in the Attic
Studio album by Aerosmith
Released
April 8, 1975
Recorded
January – March 1975
Studio
The Record Plant
Genre
Hard rock[1]
Length
37:08
Label
Columbia
Producer
Jack Douglas
Aerosmith chronology
Get Your Wings
(1974)Get Your Wings1974 Toys in the Attic
(1975) Rocks
(1976)Rocks1976
Singles from Toys in the Attic
"Sweet Emotion"
Released: May 19, 1975[2]
"Walk This Way"
Released: August 28, 1975[2]
"You See Me Crying" / "Toys in the Attic"
Released: November 1975
"Walk This Way"
Aerosmith's "Walk This Way" from Toys in the Attic
Problems playing this file? See media help.
Toys in the Attic is the third studio album by American rock band Aerosmith, released on April 8, 1975[3] by Columbia Records. Its first single release, "Sweet Emotion", was released a month later on May 19 and "Walk This Way" was released on August 28 in the same year.[2] The album is their most commercially successful studio LP in the US, with eight million copies sold, according to the RIAA.[4]
Steven Tyler said that his original idea for the album cover was a teddy bear sitting in the attic with its wrist cut and stuffing spread across the floor. They decided, in the end, to put all of the animals in instead.[5]
The album was ranked #229 on Rolling Stone's list of The 500 Greatest Albums of All Time.[6] "Walk This Way" and the album's title track are part of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll list.[7]
Contents
[hide]
1 Background
2 Recording and composition
3 Reception and legacy
4 Track listing
5 Personnel
6 Cover versions
7 Charts
7.1 Weekly charts
7.2 Singles
8 Certifications
9 References
9.1 Bibliography
10 External links
Background[edit]
For Aerosmith's previous album, 1974's Get Your Wings, the band began working with record producer Jack Douglas, who co-produced the album with Ray Colcord. In the liner notes to the 1993 reissue of Greatest Hits it was said by an unnamed member of the group that they "nailed" the album.[2] At the beginning of 1975 the band started working at The Record Plant in New York City for the album that became Toys in the Attic. The sessions for Toys were produced by Douglas without Colcord - the album was engineered by Jay Messina with assistant engineers Rod O'Brien, Corky Stasiak and Dave Thoener. The songs for Toys were recorded with a Spectrasonics mixing board and a 16-track tape recorder.[8] By this point, Aerosmith had fully matured as a band and Steven Tyler made sex the primary focus of his songwriting on the album.
Preproduction took place in the attic at Angel Studios in Ashland, Massachusetts.[9][page needed] According to producer Jack Douglas, "Aerosmith was a different band when we started the third album. They'd been playing Get Your Wings on the road for a year and had become better players - different. It showed in the riffs that Joe [Perry] and Brad [Whitford] brought back from the road for the next album. Toys in the Attic was a much more sophisticated record than the other stuff they'd done."[9][full citation needed] In the band memoir Walk This Way, guitarist Joe Perry concurs, "When we started to make Toys in the Attic, our confidence was built up from constant touring."[9][page needed] In his autobiography, Perry elaborates:
Our first two albums were basically comprised of songs we'd been playing for years live in the clubs. With Toys, we started from scratch. Making this record, we learned to be recording artists and write songs on a deadline. In the process, we began to see just what Aerosmith could accomplish. With everyone throwing in ideas, Toys was our breakthrough. That breakthrough was facilitated by Jack Douglas...In the studio he moved into the slot of the sixth member of the band.[10]
Recording and composition[edit]
Aerosmith's third album includes some of their best known songs, including "Walk This Way", "Sweet Emotion", and the storming title track. "Walk This Way" starts out with a two measure drum beat intro by Joey Kramer, followed by the well known guitar riff by Joe Perry. The song proceeds with the main riff made famous by Perry and Brad Whitford on guitar with Tom Hamilton on bass. The song continues with rapid fire lyrics by Steven Tyler. The song originated in December 1974 during a sound check when Aerosmith was opening for The Guess Who in Honolulu. During the sound check, Perry was "fooling around with riffs and thinking about The Meters", a group guitarist Jeff Beck had turned him on to. Loving "their riffy New Orleans funk, especially 'Cissy Strut' and 'People Say'", he asked the drummer "to lay down something flat with a groove on the drums." The guitar riff to what would become "Walk This Way" just "came off [his] hands."[11] Needing a bridge, he:
played another riff and went there. But I didn't want the song to have a typical, boring 1, 4, 5 chord progression. After playing the first riff in the key of C, I shifted to E before returning to C for the verse and chorus. By the end of the sound check, I had the basics of a song.
When singer Steven Tyler heard Perry playing that riff he "ran out and sat behind the drums and [they] jammed." Tyler scatted "nonsensical words initially to feel where the lyrics should go before adding them later." When the group was halfway through recording Toys in the Attic in early 1975 at Record Plant in New York City, they found themselves stuck for material. They had written three or four songs for the album, having "to write the rest in the studio." They decided to give the song Perry had come up with in Hawaii a try, but it didn't have lyrics or a title yet. In 1997, Perry recalled that the idea for the funky, James Brown-influenced "Walk This Way" was inspired by the film Young Frankenstein, which the band had gone to see around the time they were working on the track:
We were working on that song and we took a break to go see the movie in Times Square...and we came to the part where Marty Feldman as Igor limps down the steps of the train platform and says to Gene Wilder, "Walk this way", which Gene does with the same hideous limp. We fell over ourselves because it was so funny in a recognizably Three Stooges mode.
At the hotel that night Tyler wrote lyrics for the song, but left them in the cab on the way to the studio next morning. He says: "I must have been stoned. All the blood drained out of my face, but no one believed me. They thought I never got around to writing them." Upset, he took a cassette tape with the instrumental track we had recorded and a portable tape player with headphones and "disappeared into the stairwell." He "grabbed a few No. 2 pencils" but forgot to take paper. He wrote the lyrics on the wall at "the Record Plant's top floor and then down a few stairs of the back stairway." After "two or three hours" he "ran downstairs for a legal pad and ran back up and copied them down."[11] The lyrics, which tell the story of a high school boy losing his virginity, are sung quite fast by Tyler, with heavy emphasis being placed on the rhyming lyrics.
It was bassist Tom Hamilton who came up with the main lick on "Sweet Emotion". In 1997 during a band interview with Alan Di Perna of Guitar World the members discussed the evolution of the song, which owes a debt to the Jeff Beck composition "Rice Pudding":
Hamilton: I wrote that line on bass, and I realized I should think of some guitar parts for it if I was ever going to get a chance to present it to the band. I didn't think I ever would...Steven had the idea of taking that intro riff, which became the chorus bass line under the "sweet emotion" part, and transposing it into the key of E, and making it a really heavy Led Zeppelinesque thing.
Whitford: We kind of bastardized that lick from "Rice Pudding," didn't we?
Hamilton: That part came from all the times that we listened to Rough and Ready.
Many Aerosmith fans believe that Tyler wrote all of the lyrics to "Sweet Emotion" about the tension and hatred between the band members and Joe Perry's wife. Tyler himself has said that only some of the lyrics were inspired by Perry's wife. It was stated in Aerosmith's tell-all autobiography Walk This Way and in an episode of Behind the Music that growing feuds between the band members' wives (including an incident involving "spilt milk" where Elyssa Perry threw milk over Tom Hamilton's wife, Terry) may have helped lead to the band's original lineup dissolving in the early 1980s.[12]
Hamilton and Tyler also collaborated on "Uncle Salty", with Tyler recalling in his 2001 autobiography, "Here I was thinking about an orphanage when I wrote those lyrics. I'd try to make the melody weep from the sadness felt when a child is abandoned."[13][page needed] Of the title track, Tyler added, "Joe was jamming a riff and I started yelling, 'Toys, toys, toys...' Organic, immediate, infectious...I just started singing and it fit like chocolate and peanut butter. Joe plays his ass off on that song."[13][page needed]
Perhaps the most ambitious recording on the album is "You See Me Crying", a complex piano ballad that was heavily orchestrated. Jack Douglas brought in a symphony orchestra for the song, which was conducted by Mike Mainieri. The song itself was written by lead singer Steven Tyler and outside collaborator Don Solomon. Some of the band members became frustrated with the song, which took a long time to complete, due to the many complex drum and guitar parts. The band's label, Columbia Records, was nonetheless very impressed with the song and the recording process. Bruce Lundvall, then-president of Columbia Records walked in on the recording sessions for Toys when the band was working on the song and remarked: "You guys got an incredible thing going here. I just came from a Herbie Hancock session and this is much more fun".[14] While Aerosmith were planning the "Back in the Saddle" concert tour and recording the Done with Mirrors album during 1984, a radio DJ played the song. Steven, who was suffering memory loss at the time from years of drug use, liked "You See Me Crying" so much, he suggested his group record a cover version, only to be told by his bandmate Joe Perry, "It's us, fuckhead."[15]
The album also features a cover of Bullmoose Jackson's "Big Ten Inch Record", first heard by the band on a tape from Dr. Demento's radio show on KMET. (In the liner notes to Pandora's Box, Steven Tyler insists that he sings "'cept on my big ten inch..." not suck on my big ten inch," but laments that no one on earth believes him.)
In the 1997, Tyler shared his memories about writing and recording several of the LP's tracks with author Stephen Davis:[9][page needed]
"No More No More": "On a song like 'No More No More', the lyrics came from my verbal diarrhea, a mishmash that I made up and eventually changed the lyrics to something cool...about life on the road: boredom, disillusion, Holiday Inns, stalemate, jailbait. My diary."
"You See Me Crying": "This was when we had a string orchestra in to work on 'You See Me Crying', which I wrote with Don Solomon, a big production conducted by Mike Maineri."
"Sweet Emotion": "Frank Connally sold us to Leber-Krebs for what - I don't know...On 'Sweet Emotion', we used these backward handclaps and four of us in the studio chanting, 'Fuck you, Frank.' If you play it backward, you can hear this."
"Uncle Salty": "Salty worked in a home for lost children and had his way with this little girl. That's what it's about. I'm the little girl, the orphaned boy. I put myself in that place. I'm Uncle Salty too."
"Adam's Apple": I don't remember anything except I arranged it and must have fought for credit. And I originally wanted to call the album Love at First Bite after the line in the song."
Joe Perry has also stated that he wanted to call the LP Rocks, which would be used for their next studio album.[9][page needed]
The album would gain renewed attention in 1986, eleven years after its release, when the hip-hop group Run DMC covered "Walk This Way", which helped revive Aerosmith's then-flagging career as well as propel rap music to the mainstream.
Reception and legacy[edit]
Professional ratings
Review scores
Source
Rating
AllMusic [16]
Blender [17]
Robert Christgau (B+)[18]
Rolling Stone (mixed)[19]
The Rolling Stone Album Guide [1]
When Toys in the Attic was released in April 1975,[3] it eventually made #11 on the Billboard 200, a full 63 positions higher than Get Your Wings.[20] The single release of "Sweet Emotion" became a minor hit on the Billboard Hot 100 reaching #36 in 1975 and "Walk This Way" reached #10 on the Hot 100 in 1977.[21] The album also introduced to contemporary audiences a rock n' roll cover of "Big Ten Inch Record," which was originally an old R&B song recorded by Bull Moose Jackson in 1952. Rather than produce a rock reimagining, Aerosmith's cover largely stays true to the original song, down to its jazz-style instrumentation.
For his review of Toys in the Attic for AllMusic, Stephen Thomas Erlewine called the album's style a mix of Led Zeppelin and The Rolling Stones riffs, and said it was filled with songs about sex with a different style than there ever was before.[16] Greg Kot called the album a landmark of hard rock.[1] For the Blender magazine review, Ben Mitchell called Toys in the Attic cocaine-influenced and mentions the songs "Toys in the Attic", "Walk This Way", and "Sweet Emotion" as "standout tracks".[17]
Aerosmith make reference to the album and its lyrics in the song "Legendary Child". The line "But we traded them toys for other joys" refers to the title of the album and their struggles with addiction. It may also be referring to the title track of the same name. The line "I took a chance at the high school dance never knowing wrong from right" references lyrics from the songs "Walk This Way" and "Adam's Apple" respectively.
Track listing[edit]
Side one
No.
Title
Writer(s)
Length
1. "Toys in the Attic" Steven Tyler, Joe Perry 3:07
2. "Uncle Salty" Tyler, Tom Hamilton 4:09
3. "Adam's Apple" Tyler 4:33
4. "Walk This Way" Tyler, Perry 3:40
5. "Big Ten Inch Record" Fred Weismantel 2:16
Side two
No.
Title
Writer(s)
Length
6. "Sweet Emotion" Tyler, Hamilton 4:34
7. "No More No More" Tyler, Perry 4:34
8. "Round and Round" Tyler, Brad Whitford 5:03
9. "You See Me Crying" Tyler, Don Solomon 5:12
Total length: 37:08
Personnel[edit]
Per liner notes[8]
Aerosmith
Steven Tyler – lead vocals, keyboards, percussion, harmonica, piano
Joe Perry – guitar, backing vocals, slide guitar, acoustic guitar, talkbox
Brad Whitford – guitar
Tom Hamilton – bass, rhythm guitar on "Uncle Salty"[22]
Joey Kramer – drums, percussion
Additional musicians
Scott Cushnie – piano on "Big Ten Inch Record", and "No More No More"
Jay Messina – bass marimba on "Sweet Emotion"
Mike Mainieri - orchestra conductor on "You See Me Crying"
Uncredited - horn section on "Big Ten Inch Record"
Production
Jack Douglas – production
Jay Messina – engineering
Rod O'Brien – assistant engineering
Corky Stasiak – assistant engineering
Dave Thoener – assistant engineering
Doug Sax – mastering
Vic Anesini – mastering engineering
Bob Belott – original photography
Pacific Eye & Ear – album design
Ingrid Haenke – illustration
Lisa Sparagano – 1993 package design
Ken Fredette – 1993 package design
Jimmy Lenner, Jr. – still life photography
Leslie Lambert – still life collage design
David Krebs – direction
Steve Leber – direction
Cover versions[edit]
R.E.M. covered the song "Toys in the Attic" released in 1986 as a B-side to "Fall on Me". It is available on Dead Letter Office, as well as the 1993 reissue of Lifes Rich Pageant.
"Sweet Emotion" has been covered by Leo Kottke and Mike Gordon, The Answer, Warrant and Ratt.
"No More No More" was covered by Velvet Revolver.
"Toys in the Attic" was recorded by Metal Church on Masterpeace.
Run-D.M.C. covered "Walk This Way" in 1986. It features Steven Tyler on co-lead vocals and Joe Perry on guitar.
Sum 41 along with rappers Ja Rule and Nelly did a cover of "Walk This Way" in 2002.
Rose Hill Drive covered the album in its entirety during their 2007-08 New Year's Eve concert.
"Walk This Way" was covered by jam/bluegrass band The String Cheese Incident on their 1997 self-titled live album A String Cheese Incident.
"Sweet Emotion" was covered by ska band The Mighty Mighty Bosstones on their EP Where'd You Go?.
Mr. Blotto covered the album in its entirety on July 23, 2011, during their 12th Blottopia at Vasa Park, South Elgin, Il.
Charts[edit]
Weekly charts[edit]
Chart (1975)
Peak
position
Australian Albums Chart 79
Canadian Albums Chart[23] 7
US Billboard 200 11
Singles[edit]
Year
Single
Chart
Position
1975 "Sweet Emotion" The Billboard Hot 100 36
"Walk This Way" The Billboard Hot 100 10
1991 "Sweet Emotion" Hot Mainstream Rock Tracks 36
Certifications[edit]
Region
Certification
Certified units/Sales
Canada (Music Canada)[24]
Platinum 100,000^
United States (RIAA)[25]
8× Platinum 8,000,000^
*sales figures based on certification alone
^shipments figures based on certification alone
References[edit]
^ Jump up to: a b c Kot, Greg. "Aerosmith - Album Guide". rollingstone.com. Jann S. Wenner. Archived from the original on June 28, 2011. Retrieved November 13, 2010. CS1 maint: Unfit url (link)
^ Jump up to: a b c d Greatest Hits (CD insert). Aerosmith. U.S.A.: Columbia Records. 1993 [1980]. CK 57367.
^ Jump up to: a b Stephen Thomas Erlewine. "Toys in the Attic - Aerosmith > Overview". AllMusic. Rovi Corporation. Retrieved April 25, 2011.
Jump up ^ "RIAA Gold and Platinum Database". Retrieved April 25, 2011.
Jump up ^ "Cool Aerosmith info". Retrieved April 25, 2011.
Jump up ^ "Toys in the Attic - 500 Greatest Albums of All Time". rollingstone.com. Jann S. Wenner. April 5, 2010. Retrieved April 25, 2011.
Jump up ^ "Rock and Roll Hall of Fame top 500 songs". Archived from the original on 2007-05-24.
^ Jump up to: a b Toys in the Attic (CD insert). Aerosmith. U.S.A.: Columbia Records. 1993 [1975]. CK 57362.
^ Jump up to: a b c d e Davis & Aerosmith 1997.
Jump up ^ Perry, Joe & Ritz, David 2014, p. 146.
^ Jump up to: a b Myers, Marc (11 September 2014). "How Aerosmith Created 'Walk This Way': A look at how the hard-rock band, inspired in part by 'Young Frankenstein,' came up with a song that would become a top-10 hit twice". The Wall Street Journal. Retrieved 15 September 2014.
Jump up ^ https://www.youtube.com/watch?v=eYLOrT5vRso&index=6&list=PLbqqclCB64XFU643uyCjWpBLBT88a8JlG
^ Jump up to: a b Tyler & Dalton 2011.
Jump up ^ Douglas, S. and Aerosmith: "Walk This Way", page 234. Avon, 1997
Jump up ^ "Aerosmith - The Ultimate Illustrated History Of The Boston Bad Boys". Retrieved September 26, 2016.
^ Jump up to: a b Stephen Thomas Erlewine. "Toys in the Attic - Aerosmith > Review". AllMusic. Rovi Corporation. Retrieved April 25, 2011.
^ Jump up to: a b Mitchell, Ben. "Toys in the Attic". blender.com. Alpha Media Group. Archived from the original on May 6, 2010. Retrieved November 13, 2010.
Jump up ^ "Robert Christgau Review of Aerosmith". Retrieved April 25, 2011.
Jump up ^ Fletcher, Gordon (1975-07-31). "Toys In The Attic". Rolling Stone. Retrieved 2012-05-11.
Jump up ^ "Aerosmith - Billboard Albums". Allmusic. Rovi Corporation. Retrieved April 25, 2011.
Jump up ^ "Aerosmith - Billboard Singles". Allmusic. Rovi Corporation. Retrieved April 25, 2011.
Jump up ^ "Aerosmith - Toys In The Attic (Vinyl, LP, Album) at Discogs". Discogs.com. 2014-04-30. Retrieved 2016-11-13.
Jump up ^ Williams, John (December 1, 2010). Kanye has beautiful chart debut. Jam!. Retrieved on 2010-12-01.
Jump up ^ "Canadian album certifications – Aerosmith – Toys In the Attic". Music Canada.
Jump up ^ "American album certifications – Aerosmith – Toys In the Attic". Recording Industry Association of America. If necessary, click Advanced, then click Format, then select Album, then click SEARCH

Bibliography[edit]
Davis, Stephen; Aerosmith (1997). Walk This Way: The Autobiography of Aerosmith. New York: HarperCollins. ISBN 978-0-380-97594-5.
Tyler, Steven; Dalton, David (2011). The Autobiography: Does The Noise in My Head Bother You?. London: HarperCollins. ISBN 978-0007319206.
External links[edit]
Toys in the Attic (Adobe Flash) at Radio3Net (streamed copy where licensed)
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vectorMenu emptyPortlet
p-variants-label

values:
/wiki/Special:Random
Load a random article [ctrl-alt-x]
x

values: portal navigation p-navigation p-navigation-label

values: Guidance on how to use and edit Wikipedia

values: About the project, what you can do, where to find things

values: A list of recent changes in the wiki [ctrl-alt-r]

values: portal navigation p-interaction p-interaction-label

values: List of all English Wikipedia pages containing links to this page [ctrl-alt-j]

values: Recent changes in pages linked from this page [ctrl-alt-k]

values:
uls-settings-trigger
Language settings
0
button
true

values: 闇夜のヘヴィ・ロック – Japanese

values: mediawiki ltr sitedir-ltr mw-hide-empty-elt ns-0 ns-subject page-Toys_in_the_Attic_album rootpage-Toys_in_the_Attic_album vector-nav-directionality skin-vector action-view