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XO (song) - Wikipedia"XO" is a song by American singer Beyoncé from her fifth studio album, Beyoncé (2. Columbia Records released the song as the lead contemporary hit radio single from the album in the US and Italy on December 1. Ryan Tedder co- wrote and co- produced "XO" with Terius "The- Dream" Nash and Beyoncé, with additional production handled by Chauncey "Hit- Boy" Hollis and Haze. Banga Music. A pure midtempo pop, electropop and R& B love song, "XO" is complete with electronic musical instrumentation, synthesizers and drums. Musically, it was compared to Beyoncé's own song "Halo" and was noted for having several music hooks including its call and response chorus. The usage of an audio sample from Space Shuttle Challenger disaster at the beginning of the song was criticized by the families of the lost crew, NASA, and some media. Beyoncé released a statement saying that the song was intended to help people who have lost loved people in their lives and that the sample was included as a tribute to the Challenger crew.

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XO" managed to appear on many music charts across Europe and Oceania and it peaked at number 4. US Billboard Hot 1.

A music video for the song directed by Terry Richardson was filmed in Coney Island in late August 2. It was made available on i. Tunes with the release of the album on December 1. Beyoncé performed the song during the last stops of the North American leg of The Mrs. Carter Show World Tour in December 2. European leg in early 2.

To further promote "XO", she performed it at the 2. BRIT Awards and later at the 2. MTV Video Music Awards. Haim and John Mayer covered the song in 2. Production and release[edit]"XO" was written by Beyoncé, Terius "The- Dream" Nash and Ryan Tedder while the production was helmed by the aforementioned group as well as Chauncey "Hit- Boy" Hollis and Haze. Banga. Ramon Rivas engineered the song, with assistance from Justin Hergett.

Beyoncé's vocals were recorded by Stuart White and Bart Schoudel while all instrumentation and programming was carried out by Tedder. The song was finally mixed by Andrew Scheps. XO" was recorded in four studios: Jungle City Studios and Oven Studios, both in New York City, Trackdown Studios in Sydney and Tritonus Studios in Berlin.[1]During an interview with Australian radio station Nova in November 2. Tedder revealed that he had collaborated with Beyoncé on a song for her then- upcoming album along with The- Dream, further saying, "Personally the song we did I like more than 'Halo'.

I think it's a bigger, better song". However, he acknowledged that he did not know when the singer planned to release new material for her fifth album.[2] The previous month, it was reported by a source to the Daily News that Beyoncé planned to release a new single and video on December 3, 2. The publication further speculated that the single was expected to be the song whose music video was filmed in August of the same year – "XO".[3] Later, when Beyoncé was released, Billboard reported that "Blow" would be released as the contemporary hit radio single both in the US and worldwide, and "Drunk in Love" would be sent to urban radio in the US only; "XO" was scheduled to be released as the second worldwide radio single in 2. However, radio programmers reportedly pushed back against the release of "Blow" to mainstream stations, finding its lyrics to be very explicit for the format and proposing that "XO" be released in its place.[5][6] The release of "Blow" was therefore scrapped and "XO" impacted contemporary hit radio in Italy and adult contemporary radio in the US on December 1. It was also sent to US mainstream,[8] urban[9] and rhythmic radio on December 1. Composition[edit]"XO" is a midtempopop, electropop and R& B love power ballad that bears resemblance to Beyoncé's own 2. Halo", which was also produced by Tedder.[1.

Influences of electronic rock and reggaeton genres were also found in the song.[1. XO" was composed using common time in the key of C major, with a tempo of 8. It carries a "celebratory, bumping Caribbean" groove and a marching- drumbeat with shuffling dancehall influences.[1. The instrumentation includes jittery keyboards, synthesizers, percussion and electronic musical instruments.[1. The song also consists of electronic flourishes and loopedriff patterns brought about by an organ instrument.[2. XO" was also noted for being a departure from the minimalistic sexual nature of the album, due to its pure pop sound.[2.

"XO" is a song by American singer Beyoncé from her fifth studio album, Beyoncé (2013). Columbia Records released the song as the lead contemporary hit radio single. Derek Haas is a novelist and screenwriter. In stores now! Meet Austin Clay, the CIA's best-kept secret. There has always been a need in the spy game for. HitFix's Alan Sepinwall reviews the final season of "The Killing" on Netflix, in which Linden and Holder start cracking up while investigating a military academy. Based on Robert Saviano's bestselling book, this gritty Italian crime drama paints a portrait of the brutal Neapolitan crime organisation the Camorra, as seen through. The leading information resource for the entertainment industry. Find industry contacts & talent representation. Manage your photos, credits, & more.

Jordan Sargent of Complex magazine wrote that "XO" contains influences of Jamaican singer Tanya Stephens.[1. Chris Bosman from Consequence of Sound described the song as a blend of "cinematic reach of modern Top 4. Heartbreaks [sic] hip- hop."[2. Kevin Fallon from The Daily Beast compared the song's stadium sound to tracks by the band U2.[2. Beyoncé uses "subtly exhausted" vocals[1.

Baby love me, lights out", as noted by music critics.[1. The song gives the impression to have been recorded in a stadium full of fans due to its celebratory groove and call and response chorus lines.[1. Problems playing this file? See media help. Beyoncé's vocals in the song span from the note of A3 to the note of A4.[1. When asked about her raw vocals in the song previously unheard on her material and the song's less polished sound, Beyoncé revealed that "XO" was recorded when she had a bad sinus infection.

She further revealed it was recorded as a demo in several minutes. The original demo vocals were kept for a year without being rerecorded as the singer "really loved the imperfections" and wanted to focus on the album's music instead of the vocals.[2. The lyrics of "XO" express a cheerful celebration of love and life as Beyoncé attempts "to create light from darkness".[2. It has been described as a universal love song which talks about different types of relationships.[2. The singer lays emphasis on the importance of living the present with a person's loved one as life is unpredictable.[2. She further sings about the tragedy and magnificence that life can hold.[2. Watch Everlasting Hindi Full Movie'>Watch Everlasting Hindi Full Movie. Watch The Marine 4: Moving Target HD 1080P.

Throughout the song, the singer adopts a hopeful attitude and seems to have gone in trance with love,[3. Caitlin White from the website The 4. In the darkest night of hate and intolerance we see impossible love stories conquering what our governments and societies declare is legally 'allowed' to be love.. It is for love that transcends the romantic conception of man and woman and stretches out into the impossibilities of the cosmos.

It leaves room for failure but hopes for success.[2. The opening lines of "XO" are echo- laden[3. Beyoncé, the ballad contains several hooks.[1. Beyoncé starts the song by asking a loved one to kiss her.[1. Some of the ascending chorus lines are call and response; [1.

Beyoncé is backed by a sing- along crowd as she sings about how her "darkest nights" are enlightened by the lover's face: "In the darkest night hour / I search through the crowd / Your face is all that I see / I give you everything".[2. The chorus ends with the singer adding, "Baby love me, lights out", with a croak in her voice.[1. Sampling controversy[edit]The song begins with a six second- long sample of former NASA public affairs officer Steve Nesbitt, recorded moments after Space Shuttle Challenger disaster on January 2. Flight controllers here looking very carefully at the situation. Obviously a major malfunction."[3.

These were the last words spoken before the disintegrating vehicle fell into the sea.[3. The use of the sample has been criticized in the media, including Hardeep Phull of the New York Post, who described its presence in the song as "tasteless".[2.

Former NASA astronauts and families were also dismayed and labeled the use of the sample as "insensitive".[3. Keith Cowing of NASA Watch suggested that the use of the clip ranged from negligence to repugnance.[3. On December 3. 0, 2. NASA criticized the use of the sample, stating: "The Challenger accident is an important part of our history; a tragic reminder that space exploration is risky and should never be trivialized.

The Killing’ concludes on Netflix, more miserable than ever. Netflix. Two weeks ago, Netflix released the fourth season – and what is allegedly the final season, though I have a hard time believing that, given history – of “The Killing,” having revived the show after AMC canceled it for a second time. I have seen all six episodes, and while I already discussed it on this week's podcast, I had a few thoughts I wanted to write up, as well as provide a space for non- podcast listeners to weigh in on how they felt about the series' latest conclusion, with spoilers aplenty coming up just as soon as I”m somehow the most depressing character in a TV universe that also includes The Leftovers”… Season 3 of “The Killing” wasn't great, but it was easily the best of the show's three years on AMC. Confining the mystery to a single season reduced a few of the show's more aggravating tics to a more manageable size, and the work done with the guest characters and subplots was a dramatic improvement over the Larsens, “viral” wheelchair basketball videos, etc. Holder's friendship with Bullet was the strongest relationship the show ever did, the episode where they executed Ray Seward was riveting – except for the various moments where Sarah Linden again proved herself to be the most gullible police detective in television history, always believing the latest piece of information placed before her above anything she knew previously – and it felt at times like Veena Sud and company had begun to figure out how to genuinely take advantage of telling a traditional police procedural story over 1.

Then, of course, they botched the ending yet again, and I resolved that if “The Killing” ever returned, I might watch it, but only “with the understanding that I shouldn't pay the slightest bit of attention to the plot.”I entered this six- episode Netflix season curious to see whether Sud and company could carry the improvement of season 3 forward, and also how the storytelling felt with half as many episodes to work with. But I also approached it with both lowered expectations and minimal emotional investment.

And even given that minimal investment, these episodes were remarkably unpleasant to get through. We pick up in the immediate aftermath of Linden giving her serial killer ex- boyfriend the suicide- by- cop that he desired – Linden having been manipulated into it because, again, she believes with all her heart whatever it is that someone last told her – as Holder helps her cover up the evidence of murder. But Linden turns out to be even worse at covering up crimes than she is at investigating them, and so she does remarkably stupid things like hold onto her ex's phone, or dispose of crucial evidence right near his lake house. We're meant to view Linden – who has had mental health issues in the past – as going off the deep end in the aftermath of season 3, but playing bug- eyed crazy for most of six episodes stretches the limits of what Mireille Enos does well as an actress. Joel Kinnaman(*) was always the more interesting of the two leads, and he unsurprisingly does better at portraying Holder's own struggles – falling off the wagon, being cruel to his sister and his pregnant girlfriend, confessing to the crime at an NA meeting conveniently attended by a police informant – but it's still six hours of the show's heroes being trainwrecks even as they're trying to work a new case.(*) This is your periodic reminder that Fienberg is absolutely right in wanting Kinnaman to play the young Lou Solverson in “Fargo” season 2, especially when you compare photos of him to 1.

Keith Carradine. That case, involving a private military academy cadet who may have massacred his entire family, is even more of a wallow than Linden and Holder's struggles. It's an opportunity to trot out every cliché about the cruelty of boys to one another, and how the sadism gets so much worse in a (faux) military setting. As the chief suspect – and the one who carries large swaths of each episode in between our glimpses of Linden and Holder going to pieces, at times barely aware that they are actively investigating a multiple homicide – Tyler Ross is asked to play every scene either through tears, or on the edge of tears, and it wears thin over even a half- length season. As the academy headmaster – and apparently its only adult employee – Joan Allen is given almost nothing to play but steely impatience with these two idiot cops. And the explanation that the boy did, in fact, kill his parents (after a psychotic break caused by the academy's hazing) does a very poor job of explaining the various mind games that Allen's character orders her co- conspirators to play as part of their own weird cover- up. “The Killing” was never a light show in its AMC incarnation, though the culture clash between the deeply private Linden and open book Holder provided occasional levity. Season 4, though, amps up the misery, assuming that it's inherently the same as profundity.

One can be linked to the other – the dark final season of “Breaking Bad” was incredible, and I remain under the spell of “The Leftovers” (even as many others are not) – but bleakness doesn't inherently make something deep and compelling, especially not when your central character isn't well- drawn enough to support all this unhappiness. After a deux ex machina appearance from Billy Campbell as wheelchair basketball mayor Darren Richmond – the chief red herring of season 1 – takes care of whatever legal jeopardy our heroes are in, we jump ahead five years for a truly bizarre epilogue. Holder's a father to an adorable little girl, and he's found a new home running a shelter for troubled teens – an effective payoff both to Holder's own struggles with addiction and his friendship with Bullet.

He and his daughter's mom have split up, but that's just fine and dandy, because who should return from her soul- replenishing walking of the earth but Sarah Linden? And who should be revealed to be each other's One True Pairing but Holder and Linden, despite almost no suggestion in previous seasons that there was any romantic tension between them? For that matter, it was barely even suggested in previous seasons that the two of them were even friends, and if you choose to read the final scene as simply the two of them realizing they need each other around in a platonic sense, “The Killing” didn't even really put in the necessary work to foreshadow that.

Not all opposite- gender partners must fall in love, even on television, and the Linden/Holder partnership was presented as something where two opposites gradually developed respect and trust for one another, and not that they were each other's soulmate, or even each other's best friend forever. I suppose that the beating Sud took after season 1 failed to solve the Rosie Larsen case as the ad campaign had implied (if not explicitly promised) made her reluctant to ever again embrace ambiguity or try to deny her audience closure.

And I would imagine that the majority of the people who toughed it out all the way to the end of “The Killing” season 4 did it out of genuine enjoyment of the show and/or Linden and Holder, and that therefore they might appreciate an ending that leaves them together, even if they're not cops anymore. For me, though, “The Killing” was largely a wasted opportunity. From time to time, it really did demonstrate the power of spending so much time on a single investigation. But too often, it just felt like an elongated version of a network police procedural that lasted longer without actually going any deeper. Season 3 could have been a breakthrough, and maybe even one that set the show up for an extended Netflix run (say, with Holder as the veteran breaking in a rookie partner), but season 4 was a mess well before it got to the parts designed to wrap up the series for good.

After two resurrections by two different companies, I'm not ready to accept that “The Killing” has actually been buried just yet.