MC Lyte is an American rapper who first gained fame in the late 1980s, becoming the first solo female rapper to release a full album with 1988's critically acclaimed Lyte as a Rock. She has long been considered one of hip-hop's pioneer feminists. Lana Michele Moorer was raised in New York, she began rapping at the age of 12. She regards Milk Dee and DJ Giz, the hip hop duo Audio Two, as "totally like brothers", because the three grew up together. Audio Two's father, Nat Robinson, started a label. After making the label, Robinson cut a deal with Atlantic with one condition, that Lyte would get a record contract with Atlantic as well. In early 2016, after meeting him on Match.com, she started dating Marine Corps veteran and entrepreneur John Wyche. They announced their engagement in May 2017, in August they exchanged their vows during a musical wedding in Montego Bay, Jamaica. Reggae Congo bands played when Lyte walked down the aisle, their friend Kelly Price serenaded the couple during the ceremony.
Afterward, they held an intimate gathering with close friends and family. Her stage name was Sparkle. Although it took two years before it was able to be released, she began recording her first track at age 14. In 1987, when she was 17, Lyte began publicly outshining other MCs, she was featured in the remix and music video of "I Want Your" by Irish singer Sinéad O'Connor, which debuted in May 1988 on MTV. In September 1988, she released Lyte as a Rock. Written over the course of many years, the album was noted for such hits as "Paper Thin", its title track, the battle rap "10% Dis", a response from then-Hurby Azor associate, Antoinette. Both rappers released battle records against each other. Lyte followed her debut with 1989's Eyes on This, which spawned the hits "Cha Cha Cha" and "Cappucino". Both albums were notable for Lyte's uncensored lyrical matter, she sweetened up a little on 1991's Act Like You Know, noted for its new jack swing sound and the hit single "Poor Georgie". Lyte's fourth album, 1993's Ain't No Other, became her first to reach gold status and was notable for her first top 40 pop hit, "Ruffneck".
"Ruffneck" was nominated for a Grammy Award for Best Rap Single, making MC Lyte the first female solo rapper nominated for a Grammy. She went on to become a featured artist on hits by Janet Jackson Two years afterward, Lyte's fifth album, Bad As I Wanna B, featured production from Jermaine Dupri and Sean Combs, its hits were "Keep on, Keepin' On" and "Cold Rock a Party", the latter of which featured up-and-coming rapper and producer Missy Elliott. This album was her first with East West Records America and became successful after the aforementioned singles became big hits with "Keep on, Keepin' On" peaking at the top ten and "Cold Rock a Party" peaking at number eleven, it was her second gold album. Her 1998 follow-up, Seven & Seven, was not as successful, she left East West America by the end of the decade. Lyte released the independently produced record The Undaground Heat, featuring Jamie Foxx, in 2003, notable for the song "Ride Wit Me"; the single was nominated for a BET Award. MC Lyte's song "My Main Aim" was the title song of the video game NBA Live 2005 by EA Sports.
In 2005, she released two songs produced by Richard "Wolfie" Wolf called "Can I Get It Now" and "Don't Walk Away". In 2007, she released a song called "Mad at Me" and, in 2008, two songs called "Juke Joint" and "Get Lyte". In 2009, a song titled "Brooklyn" was released, as well as "Craven". "Dear John" was released on September 9, 2014 and peaked on the Billboard Twitter Trending 140 chart at number three. After twelve years without an album, MC Lyte's eighth album, came out on April 18, 2015. "Ball" and "Check" are singles from the album. In 2019 Lyte has been cast as Mikki in Sylvie, set in the sixties. In 2017 Lyte played a Detective Makena Daniels in the drama series Tales. Following she played "DEA Special Agent Katrina'K. C.' Walsh" in the Police drama S. W. A. T.. In 2018 Lyte played Coral in Justin Simien's Bad Hair and Tiffany in TV ONE production Loved to Death. Lyte has been featured on television as herself on such shows as In Living Color, Cousin Skeeter, New York Undercover, My Wife and Kids, Sisters in the Name of Rap.
She acted on TV in such shows as In the House, Get Real, Half & Half, Queen of the South, The District. Her first acting role was in 1991, an off-Broadway theater play titled Club Twelve, a hip-hop twist on Twelfth Night alongside Wyclef Jean, Lauryn Hill, Lisa Nicole Carson. After she made her film debut in the 1993 movie titled Fly by Night, starring alongside Jeffrey Sams, Ron Brice, Steve Gomer, she starred other films, such as A Luv Tale, Train Ride, Civil Brand and Playa's Ball. In 2011, she had guest starred in the Regular Show episode "Rap It Up", portraying a member of a hip-hop group including characters voiced by Tyler, the Creator and Childish Gambino. In June 2006, MC Lyte was interviewed for the documentary The Rap Report, Part 2. MC Lyte talked about her career in rap music, she performs a concert of her most famous hits. The program is produced by Rex Barnett. In February 2006, her diary, as well as a turntable and other assorted ephemera from the early days of hip hop, were donated to the Smithsonian Institution.
This collection, entitled "Hip-Hop Won't Stop: The Beat, the Rhymes, the Life" is a program to assemble objects of historical
Acid house is a subgenre of house music developed around the mid-1980s by DJs from Chicago. The style was defined by the deep basslines and "squelching" sounds of the Roland TB-303 electronic synthesizer-sequencer. Acid house spread to the United Kingdom and continental Europe, where it was played by DJs in the acid house and rave scenes. By the late 1980s, acid house had moved into the British mainstream, where it had some influence on pop and dance styles. Acid house brought house music to a worldwide audience; the influence of acid house can be heard on styles of dance music including trance, breakbeat hardcore, big beat and trip hop. Acid house's minimalist production aesthetic combined house music's ubiquitous programmed four-on-the-floor 4/4 beat with the electronic squelch sound produced by the Roland TB-303 electronic synthesizer-sequencer by modulating its frequency and resonance controls to create movement in otherwise simple bass patterns. Other elements, such as synthetic strings and stabs, were minimal.
Sometimes tracks were instrumentals such as Phuture's "Acid Tracks", or contained full vocal performances such as Pierre's Pfantasy Club's "Dream Girl", while others were instrumentals complemented by the odd spoken word'drop-in', such as Phuture's "Slam". English acid house and rave fans used the yellow smiley face symbol as an emblem of the music and scene, a "vapid, anonymous smile" that portrayed the "simplest and gentlest of the Eighties’ youth manifestations", non-aggressive, "except in terms of decibels" at the high-volume DJ parties; some acid house fans used a smiley face with a blood streak on it, which Watchmen comics creator Alan Moore asserts was based on Dave Gibbons' artwork for the series. The origin of this usage was the bloodied smiley from Watchmen on the label of "Beat Dis" by Bomb the Bass. There are conflicting accounts about how the term acid came to be used to describe this style of house music. One account ties it to Phuture's "Acid Tracks". Before the song was given a title for commercial release, it was played by DJ Ron Hardy at a nightclub where psychedelic drugs were used.
The club's patrons called the song "Ron Hardy's Acid Track". The song was released with the title "Acid Tracks" on Larry Sherman's label Trax Records in 1987. Sources differ on whether it was Sherman who chose the title. Regardless, after the release of Phuture's song, the term acid house came into common parlance; some accounts say the reference to "acid" may be a celebratory reference to psychedelic drugs in general, such as LSD, as well as the popular club drug Ecstasy. According to Rietveld, it was the house sensibility of Chicago, in a club like Hardy's The Music Box, that afforded it its initial meaning. In her view "acid connotes the fragmentation of experience and dislocation of meaning due to the unstructuring effects on thought patterns which the psycho-active drug LSD or'Acid' can bring about. In the context of the creation of "Acid Tracks" it indicated a concept rather than the use of psycho-active drugs in itself; some accounts disavow psychedelic connotations. One theory, holding that acid was a derogatory reference towards the use of samples in acid house music, was repeated in the press and in the British House of Commons.
In this theory, the term acid came from the slang term "acid burning", which the Oxford Dictionary of New Words calls "a term for stealing." In 1991, UK Libertarian advocate Paul Staines claimed that he had coined this theory to discourage the government from adopting anti-rave party legislation. Several accounts claim that Genesis P-Orridge coined the term on the 1988 Psychic TV release “Tune In.” By other accounts, while shopping in Chicago in 1986, P-Orridge came across a bin of records marked acid, indicating a corrosive liquid, mistook it for a reference to LSD. P-Orridge bought the entire contents of the bin and went on to play them when DJing in Ibiza. P-Orridge's role is disputed by music journalist Simon Reynolds, who calls it a "self-serving myth", by Psychic TV band member Fred Giannelli, who suggested that "Gen has made this claim so many times in interviews that he believes his own bullshit." The earliest recorded examples of acid house are a matter of debate. At least one historian considers the Phuture's "Acid Trax" to be the genre's earliest example.
Another points out Sleezy D's "I've Lost Control" was the first to be released on vinyl, but it is impossible to know which track was created first. The first acid house records were produced in Chicago, Illinois. Phuture, a group founded by Nathan "DJ Pierre" Jones, Earl "Spanky" Smith Jr. and Herbert "Herb J" Jackson, is credited with having been the first to use the TB-303 in the house-music context. The group's 12-minute "Acid Tracks" was recorded to tape and was played by DJ Ron Hardy at the Music Box, where Hardy was resident DJ. Hardy once played it four times over the course of an evening. Chicago's house music scene suffered a crackdown on events by the police. Sales of house records dwindled and, by 1988, the genre was selling less than a tenth as many records as at the height of the style's popularity. However, hou
National Recording Registry
The National Recording Registry is a list of sound recordings that "are culturally or aesthetically important, and/or inform or reflect life in the United States." The registry was established by the National Recording Preservation Act of 2000, which created the National Recording Preservation Board, whose members are appointed by the Librarian of Congress. The recordings preserved in the United States National Recording Registry form a registry of recordings selected yearly by the National Recording Preservation Board for preservation in the Library of Congress; the legislative intent of the National Recording Preservation Act of 2000 was to develop a national program to guard America's sound recording heritage. The Act resulted in the formations of the National Recording Registry, The National Recording Preservation Board and a fund-raising foundation to aid their efforts; the act established the Registry for the purpose of maintaining and preserving sound recordings and collections of sound recordings that are culturally or aesthetically significant.
Beginning in 2002, the National Recording Preservation Board began selecting nominated recordings each year to be preserved. The first four yearly lists each included 50 selections. However, since 2006, 25 recordings have been selected annually. Thus, a total of 525 recordings have been preserved in the Registry as of 2018; each calendar year, public nominations are accepted for inclusion in that year's list of selections to be announced the following spring. Nominations are made in the following categories: Each yearly list has included a few recordings that have been selected for inclusion in the holdings of the National Archives' audiovisual collection; those recordings on the Library of Congress' National Recording Registry that are of a political nature will tend to overlap with the audiovisual collection of the National Archives. The list shows overlapping items and whether the National Archives has an original or a copy of the recording; the criteria for selection are as follows: Recordings selected for the National Recording Registry are those that are culturally or aesthetically important, and/or inform or reflect life in the United States.
For the purposes of recording selection, "sound recordings" are defined as works that result from the fixation of a series of musical, spoken, or other sounds, but not including the sound component of a moving image work, unless it is available as an autonomous sound recording or is the only extant component of the work. Recordings may be a single group of related items. Recordings will not be considered for inclusion into the National Recording Registry if no copy of the recording exists. No recording should be denied inclusion into the National Recording Registry because that recording has been preserved. No recording is eligible for inclusion into the National Recording Registry until ten years after the recording's creation. On January 27, 2003, the following 50 selections were announced by the National Recording Preservation Board. In March 2004, the following 50 selections were made by the National Recording Preservation Board. In April 2005, the following 50 selections were made by the National Recording Preservation Board.
In April 2006, the following 50 selections were made by the National Recording Preservation Board. On March 6, 2007, the following 25 selections were made by the National Recording Preservation Board. On May 14, 2008, the following 25 selections were made by the National Recording Preservation Board. On June 10, 2009, the following 25 selections were made by the National Recording Preservation Board. On June 23, 2010, the following 25 selections were made by the National Recording Preservation Board. On April 6, 2011, the following 25 selections were announced. On May 23, 2012, the following 25 selections were made by the National Recording Preservation Board. On March 21, 2013, the following 25 selections were announced. On April 2, 2014, the following 25 selections were announced. On March 25, 2015, the following 25 selections were announced. On March 23, 2016, the following 25 selections were announced. On March 29, 2017, the following 25 selections were announced. On March 21, 2018, the following 25 selections were announced.
On March 20, 2019, the following 25 selections were announced As of 2018, the oldest recording on the list is Edouard-Leon Scott de Martinville's Phonautograms which date back to the 1850s. The most recent is The Blueprint by Jay-Z released in 2001. Selections vary in duration. Both the early Edison recordings and the instrumental "Rumble" by Link Wray, as well as "Rock Around the Clock" by Bill Haley and His Comets clock in at under three minutes. Meanwhile, Georg Solti's recording of Wagner's complete Ring Cycle is 15 hours in duration and Alexander Scourby's recitation of the King James Bible is over 80 hours in length. Stevie Wonder: Lift Every Voice and Sing and Songs in the Key of Life John Coltrane: Giant Steps and A Love Supreme Scott Joplin: Ragtime piano rolls and Treemonisha Orson Welles: War of the Worlds and The Fall of the City Curtis Mayfield: People Get Ready and Super Fly Louis Armstrong: Hot Five and Hot Seven recordings, Canal Street Blues and Mack The Knife Joe Falcon: Allons à Lafayette and Anthology of American Folk Music Paul Robeson: Show Boat and Othello Bing Crosby: Brother, Can You Spare a Dime? and White Christmas Miles Davis: Ko-Ko and Kind of Blue Paul Simon: Sounds of Silence and Gracela
Funk is a music genre that originated in African-American communities in the mid-1960s when African-American musicians created a rhythmic, danceable new form of music through a mixture of soul music and rhythm and blues. Funk de-emphasizes melody and chord progressions and focuses on a strong rhythmic groove of a bass line played by an electric bassist and a drum part played by a drummer. Like much of African-inspired music, funk consists of a complex groove with rhythm instruments playing interlocking grooves. Funk uses the same richly colored extended chords found in bebop jazz, such as minor chords with added sevenths and elevenths, or dominant seventh chords with altered ninths and thirteenths. Funk originated in the mid-1960s, with James Brown's development of a signature groove that emphasized the downbeat—with heavy emphasis on the first beat of every measure, the application of swung 16th notes and syncopation on all bass lines, drum patterns, guitar riffs. Other musical groups, including Sly and the Family Stone, the Meters, Parliament-Funkadelic, soon began to adopt and develop Brown's innovations.
While much of the written history of funk focuses on men, there have been notable funk women, including Chaka Khan, Lyn Collins, Brides of Funkenstein, Mother's Finest, Betty Davis. Funk derivatives include the psychedelic funk of George Clinton. Funk samples and breakbeats have been used extensively in hip hop and various forms of electronic dance music, such as house music, old-school rave and drum and bass, it is the main influence of go-go, a subgenre associated with funk. The word funk referred to a strong odor, it is derived from Latin "fumigare" via Old French "fungiere" and, in this sense, it was first documented in English in 1620. In 1784 "funky" meaning "musty" was first documented, which, in turn, led to a sense of "earthy", taken up around 1900 in early jazz slang for something "deeply or felt". In early jam sessions, musicians would encourage one another to "get down" by telling one another, "Now, put some stank on it!". At least as early as 1907, jazz songs carried titles such as Funky.
The first example is an unrecorded number by Buddy Bolden, remembered as either "Funky Butt" or "Buddy Bolden's Blues" with improvised lyrics that were, according to Donald M. Marquis, either "comical and light" or "crude and downright obscene" but, in one way or another, referring to the sweaty atmosphere at dances where Bolden's band played; as late as the 1950s and early 1960s, when "funk" and "funky" were used in the context of jazz music, the terms still were considered indelicate and inappropriate for use in polite company. According to one source, New Orleans-born drummer Earl Palmer "was the first to use the word'funky' to explain to other musicians that their music should be made more syncopated and danceable." The style evolved into a rather hard-driving, insistent rhythm, implying a more carnal quality. This early form of the music set the pattern for musicians; the music was identified as slow, loose, riff-oriented and danceable. A great deal of funk is rhythmically based on a two-celled onbeat/offbeat structure, which originated in sub-Saharan African music traditions.
New Orleans appropriated the bifurcated structure from the Afro-Cuban mambo and conga in the late 1940s, made it its own. New Orleans funk, as it was called, gained international acclaim because James Brown's rhythm section used it to great effect. Funk uses the same richly coloured extended chords found in bebop jazz, such as minor chords with added sevenths and elevenths, or dominant seventh chords with altered ninths. However, unlike bebop jazz, with its complex, rapid-fire chord changes, funk abandoned chord changes, creating static single chord vamps with melodo-harmonic movement and a complex, driving rhythmic feel; some of the best known and most skilful soloists in funk have jazz backgrounds. Trombonist Fred Wesley and saxophonist Pee Wee Ellis and Maceo Parker are among the most notable musicians in the funk music genre, with both of them working with James Brown, George Clinton and Prince; the chords used in funk songs imply a dorian or mixolydian mode, as opposed to the major or natural minor tonalities of most popular music.
Melodic content was derived by mixing these modes with the blues scale. In the 1970s, jazz music drew upon funk to create a new subgenre of jazz-funk, which can be heard in recordings by Miles Davis, Herbie Hancock. Funk creates an intense groove by using strong guitar riffs and bass lines played on electric bass. Like Motown recordings, funk songs use bass lines as the centerpiece of songs. Indeed, funk has been called the style in which the bass line is most prominent in the songs, with the bass playing the "hook" of the song. Early funk basslines used syncopation, but with the addition of more of a "driving feel" than in New Orleans funk, they used blues scale notes along with the major third above the root. Funk basslines use sixteenth note syncopation, blues scales, repetitive patterns with leaps of an octave or a larger interval. Funk bass lines emphasize repetitive patterns, locked-in grooves, continuous playing, slap and popping bass. Slapping and popping uses a mixture of thumb-slapped low notes (also
The twelve-inch single is a type of gramophone record that has wider groove spacing and shorter playing time compared to LPs. This allows for louder levels to be cut on the disc by the mastering engineer, which in turn gives a wider dynamic range, thus better sound quality; this record type is used in disco and dance music genres, where DJs use them to play in clubs. They are played at either 45 rpm. Twelve-inch singles have much shorter playing time than full-length LPs, thus require fewer grooves per inch; this extra space permits a broader dynamic range or louder recording level as the grooves' excursions can be much greater in amplitude in the bass frequencies important for dance music. Many record companies began producing 12-inch singles at 33 1⁄3 rpm, although 45 rpm gives better treble response and was used on many twelve-inch singles in the UK; the gramophone records cut for dance-floor DJs came into existence with the advent of recorded Jamaican mento music in the 1950s. By at least 1956 it was standard practice by Jamaican sound systems owners to give their "selecter" DJs acetate or flexi disc dubs of exclusive mento and Jamaican rhythm and blues recordings before they were issued commercially.
Songs such as Theophilus Beckford's "Easy Snappin'" were played as exclusives by Sir Coxson's Downbeat sound system for years before they were released in 1959 – only to become major local hits pressed in the UK by Island Records and Blue Beat Records as early as 1960. As the 1960s creativity bloomed along, with the development of multitrack recording facilities, special mixes of rocksteady and early reggae tunes were given as exclusives to dancehall DJs and selecters. With the 1967 Jamaican invention of remix, called dub on the island, those "specials" became valuable items sold to allied sound system DJs, who could draw crowds with their exclusive hits; the popularity of remix sound engineer King Tubby, who singlehandedly invented and perfected dub remixes from as early as 1967, led to more exclusive dub plates being cut. By 10-inch records were used to cut those dubs. By 1971, most reggae singles issued in Jamaica included on their B-side a dub remix of the A-side, many of them first tested as exclusive "dub plates" on dances.
Those dubs included drum and bass-oriented remixes used by sound system selecters. The 10-inch acetate "specials" would remain popular until at least the 2000s in Jamaica. Several Jamaican DJs such as DJ Kool Herc exported much of the hip hop dance culture from Jamaica to the Bronx in the early 1970s, including the common Jamaican practice of DJs rapping over instrumental dub remixes of hit songs leading to the advent of rap culture in the United States. Most the widespread use of exclusive dub acetates in Jamaica led American DJs to do the same. In the United States, the twelve-inch single gramophone record came into popularity with the advent of disco music in the 1970s after earlier market experiments. In early 1970, Cycle/Ampex Records test-marketed a twelve-inch single by Buddy Fite, featuring "Glad Rag Doll" backed with "For Once in My Life"; the experiment aimed to energize the struggling singles market, offering a new option for consumers who had stopped buying traditional singles. The record was pressed at 33 rpm, with identical run times to the seven-inch 45 rpm pressing of the single.
Several hundred copies were made available for sale for 98 cents each at two Tower Records stores. Another early twelve-inch single was released in 1973 by soul/R&B musician/songwriter/producer Jerry Williams, Jr. a.k.a. Swamp Dogg. Twelve-inch promotional copies of "Straight From My Heart" were released on his own Swamp Dogg Presents label, with distribution by Jamie/Guyden Distribution Corporation, it was manufactured by Jamie Record Co. of Pennsylvania. The B-side of the record is blank; the first large-format single made for DJs was a ten-inch acetate used by a mix engineer in need of a Friday-night test copy for famed disco mixer Tom Moulton. The song was; as no 7-inch acetates could be found, a 10–inch blank was used. Upon completion, found that such a large disc with only a couple of inches worth of grooves on it made him feel silly wasting all that space, he asked Rodríguez to re-cut it so that the grooves looked more spread out and ran to the normal center of the disc. Rodriguez told him.
Because of the wider spacing of the grooves, not only was a louder sound possible but a wider overall dynamic range as well. This was noticed to give a more favorable sound for discothèque play. Moulton's position as the premiere mixer and "fix it man" for pop singles ensured that this fortunate accident would become industry practice; this would have been a natural evolution: as dance tracks became much longer than had been the average for a pop song, the DJ in the club wanted sufficient dynamic range, the format would have enlarged from the seven-inch single eventually. The broad visual spacing of the grooves on the twelve-inch made it easy for the DJ in locating the approximate area of the "breaks" on the disc's surface in dim club light. A quick study of any DJs favorite discs will reveal mild wear in
I Want Your Love (Chic song)
"I Want Your Love" is a song by American band Chic from their second album C'est Chic. Featuring a solo lead vocal by Alfa Anderson, the song became a successful follow-up to their iconic hit single "Le Freak". In the United States, "I Want Your Love" reached number one on the Billboard Dance Club Songs in November 1978 and number five on the Hot R&B/Hip-Hop Songs chart in June 1979, it peaked at number seven on the Billboard Hot 100 in May 1979 and remained on the chart for 19 weeks. In the United Kingdom, it reached number four on the UK Singles chart and spent 11 weeks on the chart. " swirls around a tricky horn-and-strings riff that builds and builds until the track levitates," Rolling Stone wrote. AllMusic's Jason Birchmeier called the song a "timeless floor-filler" and a "dancefloor anthem." Amy Hanson from AllMusic: "Chic's smooth, up-tempo follow-up to their searing disco epic "Le Freak," "I Want Your Love" was a chart-topper in its own right in early 1979. And while it may not have been as commercially heart-stopping as the former, it was a stunning, better, example of just how Bernard Edwards and Nile Rodgers could magic a song together.
"Simple, yet extraordinarily textured, this is Rodgers' autobiographical and bittersweet lament of an unrequited love. Dominant here is the song's four-note riff, which plays out across the intro on bells before being swept up in the lilting strings which drive the melody. Echoed by both horns and vocals, the melancholy refrain "I want your love, I need your love" was the passionate repetition that made the song so endearing an unending circle -- a sonic masterpiece." 7" vinyl singleA. "I Want Your Love" – 3:28 B. " Bone" – 3:4112" vinyl singleA. "I Want Your Love" – 6:53 B. " Bone" – 3:41 Singer/musician Jody Watley recorded "I Want Your Love" as part of her 2006 album The Makeover. Watley's version was released as a single in 2007 and reached #1 on the Hot Dance Music/Club Play chart for the week of June 16, 2007; the Watley cover was featured Nile Rodgers on guitar. Bernard Edwards, Chic's co-founder, had produced a massive hit for Watley in the form of her 1987 single "Don't You Want Me". US Digital Download"I Want Your Love" "I Want Your Love" "I Want Your Love" "I Want Your Love" "I Want Your Love" "I Want Your Love" "I Want Your Love" "I Want Your Love" "I Want Your Love" "I Want Your Love" US CD single"I Want Your Love" "I Want Your Love" "I Want Your Love" "I Want Your Love" "I Want Your Love" UK CD single"I Want Your Love" "I Want Your Love" "I Want Your Love" "I Want Your Love" "I Want Your Love" List of number-one dance singles of 1978 List of number-one dance singles of 2007 Lyrics of this song at MetroLyrics
102 Dalmatians is a 2000 American crime family comedy film directed by Kevin Lima in his live-action directorial debut and produced by Edward S. Feldman and Walt Disney Pictures, it is the sequel to the 1996 film 101 Dalmatians, a live-action remake of the 1961 Disney animated film of the same name and stars Glenn Close reprising her role as Cruella de Vil as she attempts to steal puppies for her "grandest" fur coat yet. Close and Tim McInnerny were the only two actors from the first film to return for the sequel; the film received negative reviews but was nominated for an Academy Award for Best Costume Design, losing to Gladiator. After three years in prison, Cruella de Vil has been cured of her desire for fur coats by Dr. Pavlov and is released into the custody of the probation office on the provision that she will be forced to pay the remainder of her fortune to all the dog shelters in the borough of Westminster should she repeat her crime. Cruella therefore mends her working relationship with her valet Alonzo and has him lock away all her fur coats.
Cruella's probation officer, Chloe Simon suspects her because Chloe is the owner of the now-adult Dipstick who moved from Roger and Anita's house to her house. Dipstick's mate, has given birth to three puppies: Domino, Little Dipper and Oddball. To mend her reputation, Cruella buys the Second Chance Dog shelter, owned by Kevin Shepherd, to resolve its financial insolvency, on the verge of eviction. Meanwhile, Dr. Pavlov discovers that when his therapy's subjects are subjected to loud noises, they revert to their original states but conceals this discovery; when Big Ben rings in her presence, Cruella reverts to her former personality and enlists the help of French furrier Jean-Pierre LePelt to steal 102 Dalmatian puppies for a new fur coat with a hood modifying the original design to use Dipstick's children. Kevin tells Chloe that if Cruella violates her parole, her entire fortune will go to him, since his dog shelter is the only one in the borough of Westminster. Knowing this, Cruella has Kevin framed for the theft of the puppies and invites Chloe and Dipstick to her house for a dinner party as a decoy to distract them while LePelt steals Dottie and the three puppies.
Dipstick hurries back to the apartment and hides in LePelt's truck but is captured at the train station. Chloe arrives too late, she is joined by Kevin, who has escaped from prison with help from his dogs and talking parrot, Kevin explaining that his past theft was just breaking animals out of a lab where they were being used for experiments. Upon finding a ticket for the Orient Express to Paris dropped by LePelt and Chloe attempt and fail to stop Cruella and LePelt, but Oddball and Waddlesworth pursue their enemies secretly, Oddball having been thrown out due to her spotless status and Waddlesworth helping her get on the train while overcoming his belief that he was a dog himself. In Paris and Chloe save some of the captive puppies, but they are seen and locked in the cellar just as the puppies flee. Cruella goes after the puppies alone. Alonzo, having been scolded beyond his patience and had enough of being abused, defeats LePelt and frees Kevin and Chloe, they give chase to a bakery, where the puppies and Kevin's dogs imprison Cruella in an immense cake.
She and LePelt are thereupon arrested. Kevin and Chloe, with the former exonerated from the theft accusation, are awarded the remnants of Cruella's fortune by Alonzo himself and Oddball's coat develops spots. Glenn Close as Cruella de Vil Ioan Gruffudd as Kevin Shepherd Alice Evans as Chloe Simon Tim McInnerny as Alonzo David Horovitch as Dr. Pavlov Ian Richardson as Mr. Torte QC Gérard Depardieu as Jean-Pierre LePelt Eric Idle as Waddlesworth, The Parrot Carol MacReady as Agnes Ben Crompton as Ewan Kerry Shale as Le Pelt's Assistant Ron Cook as Mr. Button On November 24, 1999, a teaser trailer was released with Disney/Pixar's Toy Story 2; the early working title was 101 Dalmatians Returns. Production began in December 1998 and ended in mid-November 1999; the film was set to be released on June 30, 2000, but was pushed back to November 22, 2000. Oxford Prison was used for the scene. 102 Dalmatians was filmed in Paris. On November 7, 2000, Disney released the soundtrack to the movie, including pre-eminently, a cover of Paul Anka's "Puppy Love" and original songs: Mike Himelstein's "What Can a Bird Do?", "My Spot in the World" and "Cruella De Vil 2000".
The film opened at the third position behind M. Night Shyamalan's Unbreakable and Ron Howard's How the Grinch Stole Christmas; the film did well at the box office, earning $67 million in the U. S. and $116.7 million in other territories, bringing its total to $183.6 million worldwide. After premiering in New Zealand, the film received positive reviews and was described by media as a "howling success". In the United States, the film received negative reviews from critics. On Rotten Tomatoes, the film has an approval rating of 31% based on 90 reviews, with the site's consensus reading "This sequel to the live-action 101 Dalmatians is more of the same. Critics say it drags in parts-- boring children-- and that it's too violent for a G-rated movie." On Metacritic, the film has a score of 35/100, based on 24 critics. Audiences surveyed by CinemaSco