Arthur (season 4) The 4th season of the television series Arthur was originally broadcast on PBS in the United States from October 5 to 18, 1999 and contains 10 episodes. This is the last season with Luke Reid voicing Brain. Oliver Grainger has replaced Michael Caloz as D.W. Due to Caloz's voice changing after the previous season.

• 1 day ago  Some of the most memorable movies ever made also had incredible songs in them. Here we ranked 49 of the best ones of all time. Visit Insider’s homepage.
• The “Coming Out” of Auto-Tune. When Cher’s “Believe” hit shelves on October 22, 1998, music changed forever. The album’s titular track - a pulsating, Euro-disco ballad with a soaring chorus - featured a curiously roboticized vocal line, where it seemed as if Cher’s voice were shifting pitch instantaneously.

Dance-pop is a popular music subgenre that originated in the early 1980s. It is generally uptempo music intended for nightclubs with the intention of being danceable but also suitable for contemporary hit radio. Developing from a combination of dance and pop with influences of disco,^[3]post-disco^[4] and synth-pop,^[2] it is generally characterised by strong beats with easy, uncomplicated song structures^[3] which are generally more similar to pop music than the more free-form dance genre, with an emphasis on melody as well as catchy tunes.^[3] The genre, on the whole, tends to be producer-driven, despite some notable exceptions.^[3]

Dance-pop is known for being highly eclectic, having borrowed influences from other genres, which varied by producers, artists and periods. Such include contemporary R&B, house, trance, techno, electropop, new jack swing, funk and pop rock.

Dance-pop is a popular mainstream style of music and there have been numerous pop artists and groups who perform in the genre. Notable ones include Cher, Madonna, Britney Spears, Kylie Minogue, Christina Aguilera, Spice Girls, Paula Abdul, Backstreet Boys, Michael Jackson, NSYNC, Janet Jackson, Rihanna, Taylor Swift, Selena Gomez, Katy Perry, Lady Gaga, and Ariana Grande.

History

1980s

As the term 'disco' started to go out of fashion by the late 1970s to early 1980s, other terms were commonly used to describe disco-based music, such as 'post-disco', 'club', 'dance' or 'dance-pop' music.^[3] These genres were, in essence, a more modern variant of disco music known as post-disco, which tended to be more experimental, electronic and producer/DJ-driven, often using sequencers and synthesizers.

Dance-pop music emerged in the 1980s as a combination of dance and pop, or post-disco, which was uptempo and simple, club-natured, producer-driven and catchy. Dance-pop was more uptempo and dancey than regular pop, yet more structured and less free-form than dance music, usually combining pop's easy structure and catchy tunes with dance's strong beat and uptempo nature. Dance-pop music was usually created, composed and produced by record producers who would then hire singers to perform the songs.

In the beginning of the 1980s, disco was an anathema to the mainstream pop. According to prominent Allmusic critic Stephen Thomas Erlewine, Madonna had a huge role in popularizing dance music as mainstream music, utilizing her charisma, chutzpah and sex appeal. Erlewine claimed that Madonna 'launched dance-pop' and set the standard for the genre for the next two decades.^[5] As the primary songwriter on her self-titled debut album and a co-producer by her third record, Madonna's insistence on being involved in all creative aspects of her work was highly unusual for a female dance-pop vocalist at the time. The staff of Vice magazine stated that her debut album 'drew the blueprint for future dance-pop.'^[6]

Arthur's Big Hit Auto Tuned Reviews

In the 1980s, dance-pop was closely aligned to other uptempo electronic genres, such as Hi-NRG. Prominent producers in the 1980s included Stock, Aitken and Waterman, who created Hi-NRG/dance-pop for artists such as Kylie Minogue, Dead or Alive and Bananarama. During the decade, dance-pop borrowed influences from funk (e.g. Michael Jackson and Whitney Houston), new jack swing (e.g. Janet Jackson and Paula Abdul), and contemporary R&B.

Other prominent dance-pop artists and groups of the 1980s included the Pet Shop Boys, Mel and Kim, Samantha Fox, Debbie Gibson, and Tiffany.

1990s

By the 1990s, dance-pop had become a major genre in popular music. Several dance-pop groups and artists emerged during the 1990s, such as the Spice Girls, Britney Spears, Christina Aguilera, Jessica Simpson, Backstreet Boys, and 'NSYNC. During the early 1990s, dance-pop borrowed influences from house music (e.g. Right Said Fred's 'I'm Too Sexy', Taylor Dayne's Soul Dancing, and Madonna's 'Vogue', 'Rescue Me' and 'Deeper and Deeper'), as well as contemporary R&B and new jack swing (e.g. Shanice's 'I Love Your Smile').

By the late 1990s, electronic influences became evident in dance-pop music; Madonna's critically acclaimed and commercially successful album Ray of Light (1998) incorporated techno, trance and other forms of electronic dance music, bringing electronica into mainstream dance-pop. Additionally, also in 1998, Cher released a dance-pop song called 'Believe' which made usage of a technological innovation of the time, Auto-Tune. An audio processor and a form of pitch modification software, Auto-Tune is commonly used as a way to correct pitch and to create special effects. Since the late 1990s, the use of Auto-Tune processing has become a common feature of dance-pop music.

Celine Dion also released a midtempo dance-pop song, 'That's the Way It Is' by the end of 1999. Also during this period, some British bands connected with Britpop and alternative pop experimented with dance pop as a form - examples include Catatonia single Karaoke Queen, Kenickie's final single Stay in the Sun and Romo band Orlando's major label debut single 'Just For A Second.' Another Britpop band, Theaudience was fronted by Sophie Ellis Bextor who went on to a successful solo career primarily in artist-driven dance-pop.

2000s

At the beginning of the 2000s, dance-pop music was still prominent, and highly electronic in style, influenced by genres such as trance, house, techno and electro. Nonetheless, as R&B and hip hop became extremely popular from the early part of the decade onwards, dance-pop often borrowed a lot of its influences from urban music. Dance-pop stars from the 1980s and 1990s such as Britney Spears, Christina Aguilera, Madonna, Janet Jackson and Kylie Minogue continued to achieve success at the beginning of the decade. Whilst a lot of dance-pop at the time was R&B-influenced, many records started to return to their disco roots; Kylie Minogue's albums such as Light Years (2000) and Fever (2001) contained influences of disco music, or a new 21st-century version of the genre known as nu-disco; hit singles such as 'Spinning Around' (2000) and 'Can't Get You Out of My Head' (2001) also contained disco traces.^[3] In Madonna's case, her album Music (2000) contained elements of Euro disco, especially the successful eponymous lead single.^[7]

Nevertheless, it was not until the mid-to-latter part of the decade when dance-pop music returned greatly to its disco roots; this can be seen with Madonna's album Confessions on a Dance Floor (2005), which borrowed strong influences from the genre, especially from 1970s artists and bands such as ABBA, Giorgio Moroder, the Bee Gees and Donna Summer. Britney Spears' album Blackout (2007) contained influences of Euro disco.

The mid-to-late 2000s saw the arrival of several new dance-pop artists, including Rihanna, Kesha, Katy Perry and Lady Gaga. This period in time also saw dance-pop's return to its more electronic roots aside from its disco ones, with strong influences of synthpop and electropop. Lady Gaga is frequently considered as one of the pioneers of this evolution, notably with her singles 'Just Dance' and 'Poker Face' which were heavily influenced by synthpop and electropop.^[8] Rihanna's singles in the dance-pop genre, including 'Don't Stop the Music' and 'Disturbia', contained electronic influences, the former of which has elements of house music,^[9] the latter electropop. Kesha's debut single, 'Tik Tok', was also highly electronic in style and employed a video game beat. Katy Perry's 'Hot N Cold' (2008), 'California Gurls' (2010), and 'Firework' (2010), which were major commercial hits, also showcased influences of electropop and house music.

2010s

The 2010s so far have, similarly to the late 2000s, seen strong electronic influences present within dance-pop and also heavy emphasis on bass-heavy drum beats. Dance-pop artists such as Britney Spears, Lady Gaga, Taylor Swift, Katy Perry, Madonna, Kesha, Christina Aguilera, Usher and Rihanna remain very popular, and several new recording artists within the genre have or are starting to emerge.

American singer-songwriter Taylor Swift's albums Red (2012), 1989 (2014) and Reputation (2017) contain more of a pop-influenced sound which features production by dance-pop record producers Max Martin and Shellback. Ariana Grande's single 'Problem' featuring Iggy Azalea was a big hit in 2014 and reached combined sales and track-equivalent streams of 9 million units worldwide the following year.^[10]

Characteristics

Dance-pop generally contains several notable characteristics, which are listed here:

• Uptempo, upbeat music intended for clubs, with a danceable or dance-centered character.
• Catchy songs with an easy, pop-based structure.
• A strong emphasis on beats, grooves and rhythms.
• Prominent hooks.
• Simple lyrics.
• Polished productions.

See also

References

1. ^'Interview With David Guetta: Where Pop Music Meets Dance Music'. The Huffington Post. Retrieved 19 April 2015.
2. ^ ^abGlenn Appell, David Hemphill (2006). American popular music: a multicultural history. Belmont, CA: Thomson Wadsworth. p. 423. ISBN0155062298. Retrieved 12 May 2012. The 1980s brought the dawning age of the synthesizer in rock. Synth pop, a spare, synthesizer-based dance-pop sound, was its first embodiment.
3. ^ ^abcdef'Dance-pop'. AllMusic. 30 October 2011.
4. ^Smay, David & Cooper, Kim (2001). Bubblegum Music Is the Naked Truth: The Dark History of Prepubescent Pop, from the Banana Splits to Britney Spears: '... think about Stock-Aitken-Waterman and Kylie Minogue. Dance pop, that's what they call it now — Post-Disco, post-new wave and incorporating elements of both.' Feral House: Publisher, p. 327. ISBN0-922915-69-5.
5. ^Erlewine, Stephen Thomas. Madonna (Madonna album) at AllMusic. Retrieved September 4, 2009.
6. ^'The 99 Greatest Dance Albums of All Time'. Vice. July 14, 2015. Retrieved May 19, 2016.
7. ^'100 Best Songs of the 2000s: Madonna, 'Music''. Rolling Stone. Retrieved 2014-02-05.
8. ^Bogart, Jonathan (2012-07-10). 'Buy the Hype: Why Electronic Dance Music Really Could Be the New Rock'. The Atlantic. Retrieved 2019-04-29.
9. ^Lamb, Bill. 'Rihanna - Don't Stop the Music'. Top 40 / Pop. Archived from the original on 2012-03-03. Retrieved 2014-02-05.
10. ^'IFPI publishes Digital Music Report 2015'. www.ifpi.org. Retrieved 2019-04-29.

Arthur's Big Hit Auto Tuned Video

Hey guys, now I'm sure your remember the series Arthur, and of course one of the most infamous episodes, 'Arthur's Big Hit,' Here's how I feel it should have gone. I am aware someone made another version but I want your opinion on my take.

As Arthur left his model plane, to give Pal a treat a passing DW spotted it, picked it up and began to run around the room while making plane noises. As she was running around making the noises, she spotted an open window and threw the plane outside. CRUNCH DW fled downstairs and said to her brother, 'Arthur, you built the plane all wrong. It doesn't fly at all.' 'No DW I made it exactly rig- WHAT!?'

When Arthur rushed outside and witnessed the crushed plane was beyond repair, thunder began to rumble, and wind started to pick up. DW met him outside'If it could break the sound barrier, falling out of a window shouldn't be able to break it.' Arthur dropped the broken pieces, 'I TOLD YOU NOT TO TOUCH IT!' He began to grit his teeth. Completely oblivious to his anger DW went on, 'You built it all wrong, can't you even read directions? It didn't fly for one second.' Arthur started to grit his fist at his little sister's naive comments. 'It's not my fault that you built a plane that can't fly.' Before she could say another sentence he shouted, 'I TOLD YOU NOT TO TOUCH IT!' His fist impacted his little sister's left arm. Upon falling DW started screaming and crying. When she entered inside he heard his mother's voice, 'Arthur Timothy Reed, COME HERE!' Arthur's Anger quickly changed to worry, 'Uh oh, middle name.'

Inside DW sat down on the counter with a bruised arm and her father tending to her wound, 'Are they gonna have to amputake my arm?' Asked the 4 year old. 'No honey it's amputate not amputake.' Corrected her father. 'They're going to amputate!' Panicked DW. 'No, I'm in charge, and I'm putting ice on it.' Her father applied ice to it and DW screeched. 'What's wrong?' 'That's cold.'

In the living room, Arthur was confronted by his mother. 'Arthur apologize to your sister.' 'NO WAY! SHE SHOULD APOLOGIZE TO ME!' Showing his mother the broken plane he followed, ' I worked on it all week, and I told her a million times not to touch it!' Arthur's mother began to think upon seeing the mangled plane and began to understand Arthur's side of the story. As dad walked carrying DW, DW shouted, 'You're bad!' 'NO YOU ARE!' Arthur argued back. 'That's enough, both of you come here.' Said their father in a low tone voice.

As both of the children were sat down in front of their parents, their father and mother faced both of them. 'Arthur, DW, we have both thought about what you both did to each other. Arthur, hitting DW like that was wrong and you should think before you act, and DW you should have listened to Arthur when he said no, you have been told several times by us that when someone says no, they mean no. As a result, both of you have earned no TV for a week.'

'B-but that's not fair! You don't even care what she did to me.' Arthur complained. 'We do so Arthur, which is why on top of DW's no TV, she will be having a few toys confiscated for the week as well.' Arthur mentally smiled a little bit inside. 'What? My toys? But he punched me.' Complained DW. 'DW, you should have listened to Arthur, you refused to do so, and you broke his model plane that he worked on for a whole week.'

THE NEXT DAY

Arthur's Big Hit Auto Tuned Cars

As Arthur was walking to school with Buster, he was ranting and raving the whole way there, 'So I missed Bionic Bunny last night, and I can't watch TV all week. Can you believe that?' 'No I don't believe it, you hit your sister? That's terrible' Commented Buster. 'Oh come on, like you never hit anybody.'

Meanwhile at DW's preschool things were not going any better. 'So Emily, Arthur built the plane all wrong and it broke when I threw it outside, and he hit me for it. But why do I get in more trouble too?' 'Maybe when Arthur said no, you should have listened.' Stated Emily. 'But it's not my fault he built the plane wrong.' Claimed DW.

At Arthur's school, he was still talking to his friends in the hallway about hurting his sister but he seemed to receive the same comments. 'I may be a kid sister myself and I can understand where you're coming from, but hitting DW is kind of extreme.' Voiced Francine. 'Yeah Arthur, while you did have a right to be angry at DW, hitting her is taking it a bit too far, she's just a little kid, I would have just told my mom and dad.' Stated Fern. 'Saying DW, is just a little kid is like saying a tornado is just a little wind.' Arthur countered. Binky then overheard the conversation, 'I can't believe it, Arthur hit his little sister.' Just then Molly had a lightbulb go off in her head, 'Hey Binky, that shouldn't surprise you, you hit kids all the the time when...' Molly then paused for a moment and moved her pointer finger to her cheek, 'Ya, know I can't remember the last time you hit someone. Why don't you hit the next kid you see that comes around since you've never hit anyone in a while?' Before Binky could say a word Arthur came around the corner. 'Well, there's your chance Binky, go for it.' The bell rang and Binky moved his legs like a well oiled machine to class while still abiding by school rules. 'If you don't hit him, you're out of the club!' Shouted Molly as he continued his way.

Back at preschool, DW was molding and squishing colorful clay on the table and began to roll it into long logs. She then stacked one color on top of another. 'Look Emily, I made a rainbow.' Emily spotted her friend's arts and crafts project. 'That's good DW, now let's leave it to dry.' As the two friends walked away from the clay table, they took a ball out of a drawer and began to roll it back and forth between each other. A few seconds later Tommy and Timmy came to the table, 'Hey DW, nice rainbow.' Said the blue scarfed one, 'Thanks but don't touch it please, it needs to dry.' ' And thanks for getting us some red clay. We need it for our dragon.' As the Tibble with the red scarf picked up the long red strip, DW ran over shouting, 'HEY DON'T TOUCH THAT TOMMY!' The Tibble with the blue scarf then picked up the purple strip, 'And we need this color for the spots.' 'DON'T TOUCH THAT!' DW then looked at her rainbow with missing strips and shouted, 'MISS MORGAN! TOMMY AND TIMMY RUINED MY RAINBOW EVEN THOUGH I SAID DON'T TOUCH IT!' The teacher walked over to the twins and got down to their level. 'Tommy, Timmy, what you did was unacceptable, you are both going into time out.' They were both placed on a red mat that read, 'Time out.' Miss Morgan got down to their levels again, 'You are both in time out for five minutes because you wrecked DW's rainbow when she said, don't touch it.' Miss Morgan then took back the clay and gave it to DW before she rolled it out again. Emily began to help DW with the purple clay, 'Ya know DW, isn't that how Arthur felt when you touched his plane. He said, don't touch a million times.' Miss Morgan crouched down to DW, 'Emily is right DW, you said don't touch to Tommy and Timmy and they didn't listen to you, that's why they're in time out. You should listen to people when they say don't touch.' DW then began to look at her ruined rainbow and saw the plane she ruined in it's place.

After school was over, Arthur was walking home and Binky was standing just around the corner, 'Man I've been avoiding Arthur all day, should I really hit him?' As soon as Arthur came around the corner, he bumped into Binky. Binky raised a fist when Arthur got up, but he stopped at mid point. 'N-no, I can't do it.' 'What are you talking about Binky?' Asked Arthur adjusting his glasses. 'The tough customers wanted me to punch you because I didn't punch anybody in a while, and if I can't do it I'm out of the club. But I can't do it. What makes me better by hitting someone? Arthur, just because you hit your sister doesn't mean anyone should hit you. And If I have to hit someone to have friends, then I guess I don't need those people as friends. Also, it is best to apologize to your sister. Just imagine if I hit you right now. I'm bigger than you, but you're also bigger than your sister.' Arthur then saw his own face on Binky's body and himself in DW's position. 'I guess you're right Binky.' When Arthur walked home, the tough customers rushed over to him, 'Wait, Bink we're really sorry about forcing you to hit a guy right now, we just heard everything you said, and that was more gusty than hitting someone.' Said Molly. 'Thanks guys, come on let's get some ice cream.' Said Binky.

At home Arthur and DW faced each other again, 'Look, I'm sorry about yesterday.' They said in unison. 'No, I'm sorry DW. I shouldn't have hit you.' 'I'm sorrier Arthur I shouldn't have touched your plane.' They both held out each other's hands and shook them, 'Apology accepted.' And they continued to their rooms.

Arthur's Big Hit Auto Tuned For Sale

Now this is how I feel it should have gone and there are good reasons why. Area 1: DW needs to be punished as well. This was the big problem with the episode, DW got away scott free when Arthur told her not to touch his model plane. In addition, I feel that this needed to be added as well. Area 2: Make sure both characters learn their lessons. This was also another problem with the episode, Arthur learned his lesson in the episode but DW didn't so I added in that day in preschool to make sure DW would realize what it's like to be in Arthur's position. Area 3: Two wrongs don't make a right. Rather than having Binky puch Arthur, I made him stop and talk to Arthur about why hitting him doesn't make anyone any better. Plus I made the Tibbles do exactly what DW did but they don't get away scott free like Binky did in the episode. So tell me what you think of this rewrite. Arthur is owned by Marc Brown and not me.