title: Robert Catesby

text: British author and historian Antonia Fraser describes Catesby's mentality as "that of the crusader who does not hesitate to employ the sword in the cause of values which he considers are spiritual". Writing after the events of 1604–1606, the Jesuit priest Father Tesimond's description of his friend was favourable: "his countenance was exceedingly noble and expressive ... his conversation and manners were peculiarly attractive and imposing, and that by the dignity of his character he exercised an irresistible influence over the minds of those who associated with him." Fellow conspirator Ambrose Rookwood, shortly before his own death, said that he "loved and respected him [Catesby] as his own life", while Catesby's friend, Father John Gerard, claimed he was "respected in all companies of such as are counted there swordsmen or men of action", and that "few were in the opinions of most men preferred before him and he increased much his acquaintance and friends." Author Mark Nicholls suggests that "bitterness at the failure of Essex's design nevertheless seems to have sharpened an already well-honed neurosis."


title: Robert Catesby

text: Despite the ease with which Catesby seems to have inspired his fellow conspirators, that it was he and not Fawkes (today most often associated with 5 November) who devised what became known as the Gunpowder Plot, has largely been forgotten. The precise date on which he set events in motion is unknown, but he first likely had the idea early in 1604. Sometime around June of the previous year he was visited by his friend Thomas Percy. A great-grandson of the 4th Earl of Northumberland, Percy was reported to have had a "wild youth" before he became a Catholic, and during Elizabeth's final years had been entrusted by the 9th Earl with a secret mission to James's court in Scotland, to plead with the king on behalf of England's Catholics. He now complained bitterly about what he considered to be James's treachery and threatened to kill him. Catesby replied, "No, no, Tom, thou shalt not venture to small purpose, but if thou wilt is a traitor thou shalt be to some great advantage." Percy listened while Catesby added, "I am thinking of the surest way and I will soon let thee know what it is." During Allhallowtide on 31 October he sent for his cousin Thomas Wintour, who was at Huddington Court in Worcestershire with his brother Robert. Thomas was educated as a lawyer and had fought for England in the Low Countries, but in 1600 had converted to Catholicism. Following the Earl of Essex's failed rebellion, he had travelled to Spain to raise support for English Catholics, a mission which the authorities would later describe as comprising part of a 'Spanish Treason'. Although Thomas declined his invitation, Catesby again invited him in February the next year.


title: Robert Catesby

text: When Wintour responded to the summons he found his cousin with the swordsman John Wright. Catesby told him of his plan to kill the king and his government by blowing up "the Parliament House with Gunpowder ... in that place have they done us all the mischief, and perchance God hath designed that place for their punishment". Wintour at first objected to his cousin's scheme, but Catesby, who said that "the nature of the disease required so sharp a remedy", won him over. Despite Catholic Spain's moves toward diplomacy with England, Catesby still harboured hopes of foreign support and a peaceful solution. Wintour, therefore, returned to the continent, where he tried unsuccessfully to persuade the affable Constable of Castile to press for good terms for English Catholics in forthcoming peace negotiations. He then turned to Sir William Stanley, an English Catholic and veteran commander who had switched sides from England to Spain, and the exiled Welsh spy Hugh Owen; both cast doubt on the plotters' chances of receiving Spanish support. Owen did, however, introduce Wintour to Guy Fawkes, whose name Catesby had already supplied as "a confidant gentleman" who might enter their ranks. Fawkes was a devout English Catholic who had travelled to the continent to fight for Spain in the Dutch War of Independence. Wintour told him of their plan to "doe somewhat in England if the pece with Spaine helped us nott", and thus in April 1604 the two men returned home. Wintour told Catesby that despite positive noises from the Spanish, he feared that "the deeds would not answer". This was a response that in Nicholls's opinion came as no surprise to Catesby, who wanted and expected nothing less.


title: Robert Catesby

text: On Sunday 20 May in the well-to-do Strand district of London, Catesby met Thomas Wintour, John Wright, Thomas Percy and Guy Fawkes, at an inn called the Duck and Drake. Percy had been introduced to the plot several weeks after Wintour and Fawkes's return to England. Alone in a private room, all swore an oath of secrecy on a prayer book, and then in another room celebrated Mass with the Jesuit priest (and friend to Catesby) John Gerard. Robert Keyes was admitted to the group in October 1604, and was charged with looking after Catesby's Lambeth house, where the gunpowder and other supplies were to be stored. Two months later Catesby recruited his servant, Thomas Bates, into the plot, after the latter accidentally became aware of it, and by March 1605 three more were admitted: Thomas Wintour's brother Robert, John Grant and John Wright's brother Christopher.


title: Robert Catesby

text: Although the State Opening of Parliament was planned for February 1605, concern over the plague delayed it until 3 October. A contemporaneous government account has the plotters engaged in digging a tunnel beneath Parliament by December 1604, but no other evidence exists to prove this, and no trace of a tunnel has since been found. If the story is true, the plotters ceased their efforts when the tenancy to the undercroft beneath the House of Lords became available. Several months later, early in June 1605, Catesby met the principal Jesuit in England, Father Henry Garnet, on Thames Street in London. While discussing the war in Flanders, Catesby asked about the morality of "killing innocents". Garnet said that such actions could often be excused, but according to his own account during a second meeting in July he showed Catesby a letter from the pope which forbade rebellion. Catesby replied, "Whatever I mean to do, if the Pope knew, he would not hinder for the general good of our country." Father Garnet's protestations prompted Catesby's next reply, "I am not bound to take knowledge by you of the Pope's will." Soon after, Father Tesimond told Father Garnet that while taking Catesby's confession he had learned of the plot. Father Garnet met with Catesby a third time on 24 July at White Webbs in Enfield Chase, the home of Catesby's wealthy relative Anne Vaux, and a house long suspected by the government of harbouring Jesuit priests. Without acknowledging that he was aware of the precise nature of the plot, the priest tried in vain to dissuade Catesby from his course.


title: Robert Catesby

text: By 20 July 1605, 36 barrels of gunpowder had been stored in the undercroft, but the ever-present threat of the plague yet again prorogued the opening of Parliament, this time until 5 November 1605. Catesby had borne much of the scheme's financial cost thus far, and was running out of money. As their plans moved closer to fruition, during a secret meeting at Bath in August at which he, Percy and Thomas Wintour were present, the plotters decided that "the company being yet but few" he was to be allowed to "call in whom he thought best". Catesby soon added Ambrose Rookwood, a staunch Catholic who was both young and wealthy, but who most importantly owned a stable of fine horses at Coldham. For the plan to work Rookwood and his horses needed to be close to the other conspirators, and so Catesby persuaded him to rent Clopton House at Stratford-upon-Avon. Francis Tresham was brought into the plot on 14 October. Also descended from William Catesby, Tresham was Robert's cousin, and as young children the two had often visited White Webbs. Although his account of the meeting is weighted with hindsight (when captured he sought to distance himself from the affair), he asked Catesby what support for the Catholics would be forthcoming once the king had been killed. Catesby's answer, "The necessity of the Catholics [was such that] it must needs be done", in Fraser's opinion demonstrates his unwavering view on the matter, held at least since his first meeting with Thomas Wintour early in 1604. The final conspirator to be brought in was Everard Digby, on 21 October, at Harrowden. Catesby confided in Digby during a delayed Feast of Saint Luke. Like Rookwood, Digby was young and wealthy, and possessed a stable of horses. Catesby told him to rent Coughton Court near Alcester, so that he would "the better to be able to do good to the cause [kidnap Princess Elizabeth]".


title: Robert Catesby

text: The day after Tresham's recruitment, Catesby exchanged greetings in London with Fawkes's former employer, Lord Montagu, and asked him "The Parliament, I think, brings your lordship up now?" Montagu told him that he was visiting a relative, and that he would be at Parliament in a few weeks' time. Catesby replied "I think your Lordship takes no pleasure to be there". Montague, who had already been imprisoned for speaking out in the House of Lords against anti-Catholic legislation, and who had no inclination to be present while more laws were introduced, agreed. Following the plot's failure he became a suspect and was arrested, but after intense lobbying he was released some months later.


title: Robert Catesby

text: The recruitment of Rookwood, Tresham, and Digby coincided with a series of meetings in various taverns across London, during which the last remaining details were worked out. Fawkes would light the fuse, and escape by boat across the Thames. An uprising would start in the Midlands, during which Princess Elizabeth was to be captured. Fawkes would escape to the continent and explain to the Catholic powers what had happened in England.


title: Robert Catesby

text: Several of the conspirators expressed worries about fellow Catholics who would be caught up in the planned explosion; Percy was concerned for his patron, Northumberland, and when the young Earl of Arundel's name was mentioned Catesby suggested that a minor wound might keep him from the chamber on that day. Keyes's suggestion to warn the Earl of Peterborough was, however, derided. On 26 October William Parker, 4th Baron Monteagle (Tresham's brother-in-law) received an anonymous letter while at his house in Hoxton, warning him not to attend Parliament, and forecasting that "they shall receive a terrible blow this Parliament; and yet they shall not see who hurts them". Uncertain of its meaning he delivered it to Secretary of State Robert Cecil, 1st Earl of Salisbury. In an extraordinary act of bravado Catesby had planned to go hunting with James, but was warned of the betrayal by Monteagle's servant. He immediately suspected that Tresham was responsible for the letter, a view which was shared by Thomas Wintour. Together the two confronted the recently recruited conspirator, and threatened to "hang him", but Tresham managed to convince the pair that he had not written the letter, and the next day urged them to abandon the plot.


title: Robert Catesby

text: Catesby waited for Percy's return from the north, before making his decision. He thought the letter too vague to constitute any meaningful threat to the plan, and decided to forge ahead. As Fawkes made a final check on the gunpowder, other conspirators took up their positions in the Midlands. Salisbury, already aware of certain stirrings before he received the letter, did not yet know the exact nature of the plot or who exactly was involved. He elected to wait, to see how events unfolded. On 3 November, Catesby met with Wintour and Percy in London. Although the nature of their discussion is unknown, Fraser theorises that some adjustment of their plan to abduct Princess Elizabeth may have occurred, as later accounts told how Percy had been seen at the Duke of York's lodgings, enquiring as to the movements of the king's daughter. Nicholls mentions that a week earlier—on the same day that Monteagle received his letter—Catesby was at White Webbs with Fawkes, to discuss kidnapping Prince Henry rather than Princess Elizabeth.


title: Robert Catesby

text: Late on Monday 4 November, Catesby, John Wright and Bates left for the Midlands, ready for the planned uprising. That night Fawkes was discovered guarding the gunpowder in the undercroft beneath the House of Lords. As news of his arrest spread, the next day most of the conspirators still in London fled. Catesby's party, ignorant of what was happening in London, paused at Dunstable when his horse lost a shoe. When Rookwood caught them up and broke to them the news of Fawkes's arrest, the group, which now included Rookwood, Catesby, Bates, the Wright brothers and Percy, rode toward Dunchurch. At about 6:00 pm that evening they reached Catesby's family home at Ashby St Ledgers, where his mother and Robert Wintour were staying. To keep his mother ignorant of their situation, Catesby sent a message asking Wintour to meet him at the edge of the town. The group continued to Dunchurch, where they met Digby and his hunting party and informed them that the king and Salisbury were dead, thus persuading them to continue with the plan.


title: Robert Catesby

text: On 6 November they raided Warwick Castle for supplies, taking cavalry horses from the stables to aid their escape, before continuing to Norbrook to collect stored weapons. From there they continued their journey to Huddington. Catesby gave Bates a letter to deliver to Father Garnet and the other priests at Coughton Court, informing them of what had transpired, and asking for their help in raising an army in Wales, where Catholic support was believed to be strong. The priest begged Catesby and his followers to stop their "wicked actions", and to listen to the pope's preachings. Father Garnet fled, and managed to evade capture for several weeks. Catesby and the others arrived at Huddington at about 2:00 pm, and were met by Thomas Wintour. Terrified of being associated with the fugitives, family members and former friends showed them no sympathy.


title: Robert Catesby

text: Back in London, under pain of torture Fawkes had started to reveal what he knew, and on 7 November the government named Catesby as a wanted man. Early that morning at Huddington, the remaining outlaws went to confession, before taking the sacrament—in Fraser's opinion, a sign that none of them thought they had long to live. The party of fugitives, which included those at the centre of the plot, their supporters and Digby's hunting party, by now had dwindled to only thirty-six in number. They continued through pouring rain to Hewell Grange, home of the young Lord Windsor. He was absent however, so they helped themselves to further arms, ammunition, and money. The locals were unsupportive; on hearing that Catesby's party stood for "God and Country", they replied that they were for "King James as well as God and Country". The party reached Holbeche House, on the Staffordshire boundary, at about 10:00 pm. Tired and desperate, they spread in front of the fire some of the now-soaked gunpowder taken from Hewell Grange, to dry out. Although gunpowder does not explode (unless physically contained), a spark from the fire landed on the powder and the resultant flames engulfed Catesby, Rookwood, Grant, and another man.


title: Robert Catesby

text: Catesby survived, albeit scorched. Digby left, ostensibly to give himself up, as did John Wintour. Thomas Bates fled, along with Robert Wintour. Remaining were Catesby (described as "reasonably well"), Rookwood, the Wright brothers, Percy and John Grant, who had been so badly injured that his eyes were "burnt out". They resolved to stay in the house and wait for the arrival of the king's men. Catesby, believing his death to be near, kissed the gold crucifix he wore around his neck and said he had given everything for "the honour of the Cross". He refused to be taken prisoner, "against that only he would defend himself with his sword".


title: Robert Catesby

text: Richard Walsh, Sheriff of Worcester, and his company of 200 men besieged Holbeche House at about 11:00 am on 8 November. While crossing the courtyard Thomas Wintour was hit in the shoulder. John Wright was shot, followed by his brother, and then Rookwood. Catesby and Percy were reportedly both dropped by a single lucky shot, while standing near the door. Catesby managed to crawl inside the house, where his body was later found, clutching a picture of the Virgin Mary. This and his gold crucifix were sent to London, to demonstrate what "superstitious and Popish idols" had inspired the plotters. The survivors were taken into custody and the dead buried near Holbeche. On the orders of the Earl of Northampton however, the bodies of Catesby and Percy were exhumed and decapitated. John Harington made an opportune study of the heads while "en route" to London, and later reflected: "more terrible countenances were never looked upon". Placed on "the side of the Parliament House", Catesby's head became one of the "sightless spectators of their own failure".


title: Robert Catesby

text: Modern actor and producer Kit Harington is a collateral descendant of Robert Catesby. He, along with co-creators Ronan Bennett and Daniel West, produced a three-part dramatization called " Gunpowder" with the BBC delving into his ancestor's role as the mastermind of the Gunpowder Plot, with Harrington himself starring as Catesby.


title: Lynn Anderson

text: Lynn Renée Anderson (September 26, 1947 – July 30, 2015) was an American country singer and television personality. Her crossover signature recording, "Rose Garden," was a number one hit in the United States and internationally. She charted five number one and 18 top-ten singles on the "Billboard" country songs chart. Anderson is regarded as one of country music's most significant performers.


title: Lynn Anderson

text: Born in Grand Forks, North Dakota, United States, she was raised in California by her mother, Liz Anderson, who was also a country music artist. Daughter Lynn was signed to a recording contract to Chart Records in 1966 after she was heard singing along with her mother at an industry function. Previously she had recorded some demo tapes of her mother's songs and appeared on television in California on regional country music shows. In 1967, she had her first top ten hit with the single "If I Kiss You (Will You Go Away)". Soon after, Anderson joined the cast of "The Lawrence Welk Show", where she performed country music weekly to a national audience.


title: Lynn Anderson

text: In 1970, Anderson signed with Columbia Records, where she was produced by her first husband, Glenn Sutton. She had her biggest commercial success with "Rose Garden". The song reached positions on the "Billboard" country, pop, and adult contemporary charts, also charting in other countries and earning her a Grammy Award for Best Female Country Vocal Performance. Throughout the decade, Anderson also had number-one hits with "You're My Man", "How Can I Unlove You", "Keep Me in Mind", and "What a Man My Man Is". She also became a television personality, with appearances on "The Tonight Show", specials with Bob Hope and Dean Martin, and her own prime-time specials.


title: Lynn Anderson

text: After a brief hiatus, Anderson returned with the studio album "Back" (1983). The album spawned three singles, including the top ten hit "You're Welcome to Tonight", with Gary Morris. She continued recording sporadically throughout the 1980s. This included a revival of the pop hit "Under the Boardwalk" and the studio album "What She Does Best" (1988). Anderson continued releasing new albums into the new millennium, such as 2004's "The Bluegrass Sessions". Towards the end of her life, Anderson struggled with alcohol addiction, but continued performing until her death in 2015. For her work as a crossover artist, she was ranked on "Rolling Stone"'s list of the "100 Greatest Country Artists of All Time" and "CMT"s "40 Greatest Women of Country Music".


title: Lynn Anderson

text: Lynn Rene Anderson was born in Grand Forks, North Dakota, on September 26, 1947, to Casey and Liz Anderson. Her grandparents were Scandinavian immigrants who established a North Dakota "saddle club". According to Anderson, she could ride horses before she could walk. While she was still a young child, the family relocated to a subdivision in Fair Oaks, California. However, Anderson insisted that her parents move to a ranch, prompting the family to move to Sacramento, California. In Sacramento, the Anderson family bought a ranch with two acres of land. The family raised horses, which she learned how to ride and care for. At the age of nine, Anderson won second place at a local horse-racing event in San Francisco, California. Lynn also became interested in performing from an early age. Both her parents were aspiring songwriters that had formed friendships with west country performers. Her performing and musical interests continued into high school. During her teens she landed a job working as a secretary for KROY in Sacramento. Upon graduating, she became the station's secretary to the general manager.


title: Lynn Anderson

text: While working full-time, Lynn continued entering equestrian competitions. Once winning several competitions, she was dubbed the "California Horse Show Queen" in 1966. While watching her daughter at these events, Liz Anderson was also composing songs. She sent her compositions to Los Angeles and Nashville, Tennessee, where they were heard by music executives. Among the songs heard was "(My Friends Are Gonna Be) Strangers", which was recorded by Merle Haggard in 1964. The song led producer Chet Atkins to Liz to a recording contract at RCA Victor. This prompted the family to relocate to Nashville. Before officially moving, Liz took a brief trip with her daughter to Nashville in 1965. At a hotel, mother and daughter performed in an informal sing-along with several other artists. Also present at the sing-along was producer Slim Williamson. Impressed by her vocals, Williamson offered Lynn a recording contract of her own. In 1966, she signed her first recording contract with Chart Records.


title: Lynn Anderson

text: During a car ride, Liz Anderson composed a song titled "Ride, Ride, Ride". Her daughter liked the song and had an interest in cutting it at her new label. It was cut at her first recording session. Although her debut single was 1966's "In Person", it was "Ride, Ride, Ride" that became Anderson's first charting single. Her next release was another Liz Anderson composition, "If I Kiss You (Will You Go Away)". It was Anderson's first major hit as a music artist, reaching number five on the "Billboard" Hot Country Singles chart in 1967. Her debut studio album of the same name was also released in 1967 and peaked at number 25 on the "Billboard" Top Country Albums chart. She followed it with "Promises, Promises", which reached number four on the country singles list in February 1968. Her second studio release of the same name reached number one on the country albums chart.


title: Lynn Anderson

text: When reviewing her 1999 Chart compilation, Greg Adams of AllMusic gave the recording four-and-a-half out of five stars. "Lynn Anderson made some of the best music of her career during her late-'60s period on the Chart label", Adams commented. "Billboard" magazine also praised these early recordings. In reviewing "Big Girls Don't Cry", writers took note of her mass appeal. "The material which includes her fine renditions of 'Honey' and 'Ring of Fire' is diversified and has appeal for all buyers", they wrote.


title: Lynn Anderson

text: In 1967, Anderson's career gained further momentum when she was cast on "The Lawrence Welk Show". Welk's son, Larry Welk, discovered an Anderson album cover and was drawn to her physicality. Larry's interest drew Lawrence Welk to audition and eventually cast her. Anderson became the show's first country performer and toured with the cast nationwide. However, she was dissatisfied with the material chosen for her to sing on the program and threatened to quit. After meeting with Welk, different arrangements were made for Anderson's performances. The exposure led to continued music success. In 1967, she won the "Top Female Vocalist" award at the Academy of Country Music Awards. She remained with "The Lawrence Welk Show" until 1968.


title: Lynn Anderson

text: While finding chart success and common ground with Welk, Anderson was not finding common ground with the Nashville establishment. "I was seen as a kid from California on the Welk show – not a real country artist", she stated. Thus, she chose to record more traditional material that would help associate her with Nashville's country music scene. Among these songs was a cover of the Osborne Brothers' "Rocky Top". Anderson's version became a bigger hit than the original, climbing to number 17 on the "Billboard" country singles list in 1970. She had country hits between 1968 and 1969 that further displayed a traditional country style, including "Big Girls Don't Cry", "That's a No No" and a cover of Hank Snow's "I've Been Everywhere". Anderson's sixth studio album was a tribute to the traditional female country performers that preceded her. Entitled "Songs That Made Country Girls Famous" (1969), the album reached number nine on the country albums chart.


title: Lynn Anderson

text: In 1970, Anderson's recording contract was bought by Columbia Records and she began recording for the new label that year. Two years prior, she married songwriter and producer Glenn Sutton, who ultimately became her producer at the label. Her first Columbia release was the Sutton-penned "Stay There, Till I Get There". The song became her fifth top ten hit on the "Billboard" Hot Country Singles chart, rising to number seven in 1970. Her eighth studio album of the same name was also released in 1970. According to writer Greg Adams, the album resembled the traditional country of her previous Chart recordings. Despite the success of Sutton's composition, Anderson claimed that it was hard for Sutton to provide additional material for her. His collaborator, Billy Sherrill, oversaw Sutton and chose many of his compositions for Tammy Wynette to record. "Glen was very politically connected at Columbia and Epic...so I had to find songs from other sources, which is why a lot of my songs were written by other people", she commented in 2011.


title: Lynn Anderson

text: According to Anderson, she had found the original version of "Rose Garden" on "a Joe South album and loved it." She then brought it to the attention of Glenn Sutton. However, Sutton was against recording it because lines in the song were sung from a male perspective. However, he eventually acceded to Anderson after she kept bringing the song into recording sessions. Released as a single in October 1970, the song became Anderson's first number one single, topping the charts for five weeks. It was also her first to crossover onto the "Billboard" Hot 100, peaking at number three in February 1971. The song eventually became a hit in 15 other countries. Its crossover success helped Anderson receive accolades from 13th Annual Grammy Awards, the Academy of Country Music and the Country Music Association. Anderson's eleventh studio album, "Rose Garden", was released in December 1970. The record topped the "Billboard" country albums chart and spent 77 weeks on the survey altogether. It was also her highest-peaking album on the Billboard 200 chart list, reaching number 19. The record certified platinum in sales from the Recording Industry Association of America.


title: Lynn Anderson

text: Anderson followed "Rose Garden" with the singles "You're My Man" and "How Can I Unlove You", which both became number one hits on the "Billboard" country songs chart in 1971. Both songs also registered on the "Billboard" adult contemporary chart, with "You're My Man" becoming a top ten hit on that survey. The latter singles appeared on corresponding studio releases. This begun with "You're My Man", which reached the top spot on the country albums list. The project also peaked at number 99 on the Billboard 200. Allmusic gave the album four out of five stars, praising the album's pop covers of "Knock Three Times" and "Proud Mary". Her twelfth studio album was also titled "How Can I Unlove You." It featured covers of "Take Me Home Country Roads" and "You've Got a Friend". The record peaked at number two on the country albums chart and number 132 on the "Billboard 200".


title: Lynn Anderson

text: She continued to diversify her music by recording songs of different styles. In 1972, Anderson recorded Johnnie Ray's pop hit "Cry", which became a top five country hit for Anderson. She also reached the top five with a version of Loggins and Messina's "Listen to a Country Song" and Joe South's "Fool Me". She then covered The Carpenters' "Top of the World" after hearing it on their 1972 album, "A Song for You". Anderson's version reached number two on the "Billboard" country songs chart. After discovering that Anderson's version had become a hit, The Carpenters released their own version for the pop market.


title: Lynn Anderson

text: In the 21st century, critics have taken notice of Anderson's various music styles. Writers Mary A. Bufwack and Robert K. Oermann commented that her diverse song subjects proved that she could be "poignant" and "downhearted". Greg Adams of Allmusic thought that albums such as 1972's "Cry" had an easy listening style that made her music more marketable to different genres.


title: Lynn Anderson

text: Between 1973 and 1974, the singles "Keep Me in Mind" and "What a Man My Man Is" reached number one. Anderson's success was also fueled by television appearances, especially during the second half of the decade. She appeared on prime-time shows "The Brady Bunch Hour", "The Tonight Show" and "The Midnight Special". Additionally, she collaborated with Dean Martin and Bob Hope on television and in concert. Anderson hosted her own CBS television special in 1977. Regular television appearances helped promote singles that were less successful. This included a one-episode appearance on "Starsky and Hutch", where Anderson performed her 1977 single "Wrap Your Love All Around Your Man". After her performance, the song reached number 12 on the "Billboard" country singles chart. She had further top twenty country hits in the middle decade with "He Turns It into Love Again", "I've Never Loved Anyone More", and "All the King's Horses". With declining chart success, Anderson adopted a newer image which was described by writers as "racy" and "skin tight". The new style proved successful when she returned in 1979 with Karla Bonoff's "Isn't It Always Love". Anderson's version reached the top ten of the country charts. Its success led to her 1979 album reaching the top 30 of the "Billboard" country albums chart. In 1980, Anderson released her last studio album for Columbia Records called "Even Cowgirls Get the Blues". It produced two top 30 country singles, including the title track, which reached number 26.


title: Lynn Anderson

text: In 1980, Anderson left Columbia Records after remarrying two years prior. Prior to her departure, it was claimed that Columbia intended to promote her as the company's answer to counterparts, Barbara Mandrell and Dolly Parton. Instead, Anderson moved to Louisiana with her second husband and raised a family. With the exception of an , she did not record for nearly three years. She divorced in 1982 and returned to Nashville, but found it difficult to regain interest in her career. However, she began working with former CBS agent Bonnie Garner. In 1983, Garner helped her secure a new recording contract with the independent label Permian Records.


title: Lynn Anderson

text: In 1983, she released her 29th studio album, "Back", on Permian. Writers Mary A. Bufwack and Robert K. Oermann called the album's music "emotional" and "bruised". "That's what I felt at the time", Anderson recalled of the album's choice of material. "Back" was her last charting record, peaking at number 61 on the "Billboard" Top Country Albums list in 1983. Two singles were spawned that became major hits. The first was "What I Learned from Loving You", a top twenty hit on the Hot Country Songs chart. The second was a duet with Gary Morris called "You're Welcome to Tonight". It was Anderson's first top ten hit in five years, reaching number nine in 1984.


title: Lynn Anderson

text: In 1986, Permian Records filed for bankruptcy. Although the label focused on artist management and production, it dropped all of its major artists, including Anderson. During this period Anderson did not release full-length albums, but did record a single for MCA Records. Titled "Heart of the Matter," the track did not chart. She then signed with Mercury Records in the second half of the decade. In 1988, her cover of The Drifters' "Under the Boardwalk" became her highest-charting single in five years, peaking at number 24 on the "Billboard" country songs chart. Her 30th studio album, "What She Does Best", was issued on Mercury in 1988. The record's title track was also spawned as a single and became a minor hit in 1988. The album's third (and final) single, "How Many Hearts", was Anderson's last chart appearance in her career. In March 1989, it peaked at number 69 on the "Billboard" country songs chart.


title: Lynn Anderson

text: Anderson left the major label market following her departure from Mercury in 1990. She began to diversify her career during this time. In 1990, she appeared on the BBC Scotland drama "The Wreck on the Highway". She also recorded a variety of different musical genres. In 1992, she released the studio album "Cowboy's Sweetheart" on the independent Laserlight label. The project was western-themed and included collaborations with Emmylou Harris and Marty Stuart. Allmusic's Jason Ankeny gave the album 2.5 out of 5 stars, yet called it one of her "stronger albums". In 1992, "Billboard" gave the album a positive response. "Anderson has never sounded better or more alluring than she does in this collection built around a western/living free motif", staff writers noted. Six years later, Anderson released the Platinum Entertainment studio project, "Latest and Greatest". The album included re-recordings of her hits, and also featured three new tracks. Two of the album's track were composed by Anderson's partner, Mentor Williams. In their review, Allmusic commented that she no longer had her "girlish" edge, but rather a voice comparable to that of K.T. Oslin or Mary Chapin Carpenter.


title: Lynn Anderson

text: In 2000, Anderson released her first live record entitled "Live at Billy Bob's Texas", which was issued on the Smith label. Richie Unterberger of Allmusic gave the effort three out of five stars in his review, commenting, "This disc is not an electrifying find, but it's decent for what it is." In June 2005, Anderson's 34th studio album, "The Bluegrass Sessions" was issued on the DM label. The album was a collection of Anderson's former hits recorded in a bluegrass style. The track listing included hits such as "Rose Garden", "You're My Man", and "Rocky Top". Zac Johnson of Allmusic gave the release 2.5 out of 5 possible stars. Johnson questioned her authenticity when reviewing the record, noting that some songs sounded "a little forced". Despite the critical response, "The Bluegrass Sessions" was nominated by the Grammy Awards for Best Bluegrass Album.


title: Lynn Anderson

text: Over the next several years, Anderson continued touring and performing as well. In 2007, Anderson was part of the lineup at the CMA Music Festival at the Riverfront Park. Other performers included Terri Clark and Lorrie Morgan. In 2009, she performed at the Stagecoach Festival, which also included several additional performers as well. Between 2010 and 2011, she performed alongside the Metropole Symphony Orchestra for a series of concerts. Anderson also continued recording music. In 2006, she released her 35th studio album, "Cowgirl". The album was a collection of western songs, which were written (or co-written) with her mother. The project was released on her mother's label, Showboat Records. A similar project was issued in 2010 entitled "Cowgirl II" on the same label. According to Anderson, her reasons for releasing both western albums was to present the genre in a "sophisticated way" for people who did not know the music.


title: Lynn Anderson

text: In June 2015, Anderson released her final studio album "Bridges". The album was a collection of gospel material that included collaborations with The Martins and The Oak Ridge Boys. According to a 2015 interview with Anderson, it was her first album in ten years that she decided to promote. It was also Anderson's first gospel collection and featured a reworking of Dobie Gray's "Drift Away" for the Christian market. Writer Timothy Yap called the album's songwriting "top notch" in his review of the album. Markos Papadatos of the "Digital Journal" gave it 4.5 out of 5 stars, calling the record "phenomenal". The album was released a month prior to her death in July 2015.


title: Lynn Anderson

text: In addition to her music career, Anderson was also an equestrian and professional horse racer. While she had equestrian credits before signing her first recording contract, Anderson continued pursuing it throughout her life. Over the course of her life, Anderson had won 16 national championships, eight world championships and some celebrity championships.


title: Lynn Anderson

text: She often alternated between performing music concerts and participating in horse shows. "I'd go sing at a concert, then fly to a horse show, then fly back the next night for a concert. I was real serious about showing horses", she recounted. Anderson also bred horses, most notably quarter horses. Among her bred horses, Doc Starlight, helped start a bloodline for cutting horses in the United States. She was a lifelong member of the American Quarter Horse Association and participated in a variety of the organization's events. While she participated in many events, the cutting horse events were considered her favorites.


title: Lynn Anderson

text: Anderson kept show horses in Texas during the final years of her life. She also employed a horse trainer to keep the animals active and ready for competitions. Anderson traveled between Texas and her home in New Mexico to spend time with the horses. She also raised horses at her ranch in New Mexico. In a 1995 interview, Anderson told reporter Gene Stout that she mainly moved to New Mexico so that she could raise horses. "I’ve been kind of a cowgirl most of my life, so New Mexico is the perfect place for me. It suits me very well. Ninety percent of the time I’m in cowboy boots and a cowboy hat", she recounted.


title: Lynn Anderson

text: Anderson worked with disabled children and facilitated in learning to ride horses. She helped establish a horse riding organization in Franklin, Tennessee called "Special Riders". Anderson was inspired to establish the organization after observing a child who had crutches and was unable to ride. Anderson also collaborated with a similar program in Texas called "Rocky Top Riders". Although not started by Anderson, the program was named for her 1970 country hit. She also established a clinic to help aspiring young female riders. Entitled "Rodeo Queen", the clinic focused on horse show activities, such as horse grooming and self-care. She also worked with the North American Riding for the Handicapped Association (NARHA) for several years.


title: Lynn Anderson

text: Anderson was married twice and had three children. Her first marriage to Glenn Sutton lasted from 1968 until 1977. The pair met after Sutton developed an interest in producing her while at the Chart label. Anderson stated that she had turned down several professional opportunities due to Sutton's disapproval. This included touring in Vietnam with Bob Hope and acting in the film "W.W. and the Dixie Dancekings". The pair continued collaborating musically until they divorced in 1977. The couple had one child together, Lisa Sutton.


title: Lynn Anderson

text: In 1978, Anderson married Texas business entrepreneur Harold "Spook" Stream. She had met Stream at a rodeo event and developed a romantic relationship shortly afterward. The couple had two children together. The couple divorced in 1982. Anderson claimed that Stream had been physically abusive, stating that he had attempted to run her over with a vehicle and attempted to hit her. Following their divorce, Anderson and Stream fought over custody of their two children. Although attempting to gain visitation rights, Anderson ultimately lost custody of the children.


title: Lynn Anderson

text: Anderson reconnected with songwriter Mentor Williams following her divorce. The pair reunited at a Nashville press event and the relationship turned romantic in 1989. The couple later moved to a ranch in Taos, New Mexico, the home state of Williams. Anderson and Williams lived in New Mexico until her death in 2015. The pair never married but remained in a committed relationship. "He’s technically my boyfriend, but really he’s like my husband", Anderson said in 2013.


title: Lynn Anderson

text: Anderson had issues with alcohol towards the end of her life. In December 2004, she was arrested and charged with driving under the influence in Denton, Texas. A driver following Anderson called the police after noticing her car weaving in and out of lanes. After failing a field sobriety test, she was arrested and released on a $1000 bond. On January 24, 2005, Anderson was accused of shoplifting a Harry Potter DVD from a local supermarket in Taos, New Mexico. Upon her arrest she punched the arresting officer. She was charged with shoplifting, resisting arrest and assault on a police officer. The assault charges were later dropped. The shoplifting charge was dropped, as long as Anderson agreed to not commit any further offenses.


title: Lynn Anderson

text: In May 2006, Anderson was arrested on a second DUI charge after a traffic accident near Española, New Mexico. According to police, Anderson failed a sobriety test and refused to take a breathalyzer test after her car hit the back of another car. No one was injured in the collision and she again was charged and released on bond. Her last arrest occurred on September 11, 2014, after being involved in a minor traffic accident in Nashville, Tennessee, on West End Avenue. Anderson was arrested after she admitted to drinking alcohol and taking prescription medication. She was booked on DUI and released on a $5,000 bond. She issued a statement and apologized to her fans. Anderson later went through rehabilitation at the Betty Ford Center.


title: Lynn Anderson

text: Anderson died on July 30, 2015, at the Vanderbilt University Medical Center in Nashville, Tennessee, at the age of 67. She had been briefly hospitalized due to pneumonia after vacationing in Italy. The official cause of death was a heart attack. At her funeral, friend Brenda Lee gave a speech and several doves were released to commemorate her passing. She is buried at Woodlawn Memorial Park Cemetery in Nashville near her mother and father. In 2018, Woodlawn Memorial Park Cemetery (referred to as "Cemetery of Country Stars") created "The Lynn Anderson Rose Garden", consisting of 200 Lynn Anderson Hybrid Rose Bushes (named for the singer by the National Rose Society of America), as a place of reflection and meditation, in honor of Anderson's signature song.


title: Lynn Anderson

text: Anderson's music is rooted in the country genre. It is also rooted in the sub-genres of the Nashville Sound, Countrypolitan, bluegrass, western and gospel. Early on, Anderson had a traditional country style that featured instruments such as the steel guitar and the banjo. These recordings also incorporated some elements of the Nashville Sound style. Her style shifted after working alongside Glenn Sutton, who helped develop Anderson's music towards the Countrypolitan format by combining soft rock and adult contemporary. This was first seen on her 1970 studio album, "No Love at All". Reviewer Pemberton Roach said the album exemplified the style through its emotional lyrics and mature vocal stylings. It was most apparent in "Rose Garden", which writer Richard Carlin called a "poppy, upbeat song" with rock accompaniment.


title: Lynn Anderson

text: As Anderson's music routinely crossed over into the pop field, it developed into adult contemporary and pop music. Anderson recorded covers of pop hits for her studio releases during the 1970s. In his review of her 1972 album, Greg Adams commented on her shift: ""Cry" continues Lynn Anderson's trend toward pop music and away from songs written by her gifted mother, Liz Anderson." Stephen Thomas Erlewine noted a similar trend in his review of her 2017 album, "The Definitive Collection": "[It] winds up with a narrative, illustrating how Anderson drifted from the Nashville sound to easy listening by the end of the '70s, and by telling that story, this double disc lives up to its title's promise". Anderson's singing voice has also been highlighted by writers and journalists. David Laing of "The Guardian" described her as having a "powerful alto voice." Steve Huey of Allmusic called Anderson's voice "sweet but strong" in his biography of her career.


title: Lynn Anderson

text: Anderson has been widely regarded as one of country music's most significant female artists. According to Mary A. Bufwack and Robert K. Oermann, Anderson brought female artists to a new level in the 1970s. Steve Huey of Allmusic called her "one of the most popular female country singers of the early '70s". Courtney Campbell of "Wide Open Country" called her "one of the most important female country music voices of her time". At the time of her passing, other country artists acknowledged her as a career inspiration, most notably Neal McCoy, Martina McBride and Mary Sarah. Reba McEntire also saw Anderson as a musical inspiration: "I am a huge fan of Lynn’s. She was always so nice to me. She did so much for the females in country music. Always continuing to pave the road for those to follow."


title: Lynn Anderson

text: Writers and music journalists have most notably regarded Anderson as an important crossover music artist. In his book "Historical Dictionary of Popular Music", author Norman Abjorensen viewed her as an artist that "took aim at the mainstream pop audience". Bufwack and Oermann noted that Anderson's "Rose Garden" helped set the trend for female crossover artists in the 1970s. Her crossover legacy has also been recognized for her national television appearances. In 2015, "The Washington Post" explained that Anderson was the first female country artist to appear on national television due to cast membership on "The Lawrence Welk Show". Courtney Campbell of "Wide Open Country" noted that she was the first female country performer to appear on "The Tonight Show" and headline at Madison Square Garden in New York City.


title: Lynn Anderson

text: Anderson has also been given honors and achievements as part of her legacy. Record World named her their "Artist of the Decade" between 1970 and 1980. In the mid-1990s, a hybrid tea rose was created called "The Lynn Anderson Rose". In 1999, Governor Don Sundquist of Tennessee made June 15 "Lynn Anderson Day" in the state. She was also inducted into the North American Country Music Association Hall of Fame the same year.


title: Lynn Anderson

text: In 2002, she was ranked by Country Music Television on their list of the "40 Greatest Women of Country Music". She received a similar recognition when "Rolling Stone" included her on their list of the "100 Greatest Country Artists of All Time". In 2017, her stage costumes and memorabilia were on display at the Country Music Hall of Fame and Museum. The Anderson exhibit was called "Keep Me in Mind". The exhibit ran through 2018. In 2018, daughter Lisa Sutton helped open the Lynn Anderson Rose Garden in Nashville to pay tribute to her career. In 2019, she was inducted into the Western Music Association Hall of Fame. In 2020, Anderson was featured in the PBS documentary "Iconic Women of Country". Female country artists, including Trisha Yearwood, discussed her legacy in the genre. The same year, Anderson's eleventh studio album, "Rose Garden", was remastered for its 50th anniversary. The new edition included liner notes from Clive Davis and Reba McEntire.


title: Lynn Anderson

text: Anderson received many awards during the course of her career. This includes two from the Academy of Country Music, one from the Country Music Association and one from the Grammy Awards.


title: Social cognitive theory

text: Social cognitive theory (SCT), used in psychology, education, and communication, holds that portions of an individual's knowledge acquisition can be directly related to observing others within the context of social interactions, experiences, and outside media influences. This theory was advanced by Albert Bandura as an extension of his social learning theory. The theory states that when people observe a model performing a behavior and the consequences of that behavior, they remember the sequence of events and use this information to guide subsequent behaviors. Observing a model can also prompt the viewer to engage in behavior they already learned. In other words, people do not learn new behaviors solely by trying them and either succeeding or failing, but rather, the survival of humanity is dependent upon the replication of the actions of others. Depending on whether people are rewarded or punished for their behavior and the outcome of the behavior, the observer may choose to replicate behavior modeled. Media provides models for a vast array of people in many different environmental settings.


title: Social cognitive theory

text: The conceptual roots for social cognitive theory come from Edwin B. Holt and Harold Chapman Brown's 1931 book theorizing that all animal action is based on fulfilling the psychological needs of "feeling, emotion, and desire". The most notable component of this theory is that it predicted a person cannot learn to imitate until they are imitated.


title: Social cognitive theory

text: In 1941, Neal E. Miller and John Dollard presented their book with a revision of Holt's social learning and imitation theory. They argued four factors contribute to learning: drives, cues, responses, and rewards. One driver is social motivation, which includes imitativeness, the process of matching an act to an appropriate cue of where and when to perform the act. A behavior is imitated depending on whether the model receives a positive or negative response consequences. Miller and Dollard argued that if one were motivated to learn a particular behavior, then that particular behavior would be learned through clear observations. By imitating these observed actions the individual observer would solidify that learned action and would be rewarded with positive reinforcement.


title: Social cognitive theory

text: The proposition of social learning was expanded upon and theorized by Canadian psychologist Albert Bandura. Bandura, along with his students and colleagues conducted a series of studies, known as the Bobo doll experiment, in 1961 and 1963 to find out why and when children display aggressive behaviors. These studies demonstrated the value of modeling for acquiring novel behaviors. These studies helped Bandura publish his seminal article and book in 1977 that expanded on the idea of how behavior is acquired, and thus built from Miller and Dollard's research. In Bandura's 1977 article, he claimed that Social Learning Theory shows a direct correlation between a person's perceived self-efficacy and behavioral change. Self-efficacy comes from four sources: "performance accomplishments, vicarious experience, verbal persuasion, and physiological states".


title: Social cognitive theory

text: In 1986, Bandura published his second book, which expanded and renamed his original theory. He called the new theory "social cognitive theory". Bandura changed the name to emphasize the major role cognition plays in encoding and performing behaviors. In this book, Bandura argued that human behavior is caused by personal, behavioral, and environmental influences.


title: Social cognitive theory

text: In 2001, Bandura brought SCT to mass communication in his journal article that stated the theory could be used to analyze how "symbolic communication influences human thought, affect and action". The theory shows how new behavior diffuses through society by psychosocial factors governing acquisition and adoption of the behavior.


title: Social cognitive theory

text: In 2011, Bandura published a book chapter — "The Social and Policy Impact of Social Cognitive Theory" — to extend SCT'S application in health promotion and urgent global issues, which provides insight into addressing global problems through a macro social lens, aiming at improving equality of individuals' lives under the umbrellas of SCT.


title: Social cognitive theory

text: SCT has been applied to many areas of human functioning such as career choice and organizational behavior as well as in understanding classroom motivation, learning, and achievement.


title: Social cognitive theory

text: Social Cognitive Theory originated in psychology, but based on an unofficial November 2013 Google Scholar search, only 2 percent of articles published on SCT are in the pure psychology field. About 20 percent of articles are from Education and 16 percent from Business. The majority of publications using SCT, 56 percent, come from the field of Applied Health Psychology. The majority of current research in Health Psychology focuses on testing SCT in behavioral change campaigns as opposed to expanding on the theory. Campaign topics include: increasing fruit and vegetable intake, increasing physical activity, HIV education, and breastfeeding.


title: Social cognitive theory

text: Born in 1925, Bandura spent his life influencing the world with expansions of SCT. His recent work, published May 2011, focuses on how SCT impacts areas of both health and population in relation to climate change. He proposes that these problems could be solved through television serial dramas that show models similar to viewers performing the desired behavior. On health, Bandura writes that currently there is little incentive for doctors to write prescriptions for healthy behavior, but he believes the cost of fixing health problems start to outweigh the benefits of being healthy. Bandura argues that we are on the cusp of moving from a disease model (focusing on people with problems) to a health model (focusing on people being healthy) and SCT is the theory that should be used to further a healthy society. Specifically on Population, Bandura states that population growth is a global crisis because of its correlation with depletion and degradation of our planet's resources. Bandura argues that SCT should be used to increase birth control use, reduce gender inequality through education, and to model environmental conservation to improve the state of the planet.


title: Social cognitive theory

text: Social cognitive theory is a learning theory based gists agree that the environment one grows up in contributes to behavior, the individual person (and therefore cognition) is just as important. People learn by observing others, with the environment, behavior, and cognition acting as primary factors that influence development in a reciprocal triadic relationship. Each behavior witnessed can change a person's way of thinking (cognition). Similarly, the environment one is raised in may influence later behaviors. For example, a caregiver's mindset (also cognition) determines the environment in which their children are raised.


title: Social cognitive theory

text: The core concepts of this theory are explained by Bandura through a schematization of triadic reciprocal causation. The schema shows how the reproduction of an observed behavior is influenced by getting the learner to believe in his or her personal abilities to correctly complete a behavior.


title: Social cognitive theory

text: It is important to note that learning can occur without a change in behavior. According to J.E. Ormrod's general principles of social learning, while a visible change in behavior is the most common proof of learning, it is not absolutely necessary. Social learning theorists believe that because people can learn through observation alone, their learning may not necessarily be shown in their performance. These are interdependent on each other and its influence can be directly linked with individual or group psychological behavior. According to Alex Stajkovic and Fred Luthans it is critically important to recognize that the relative influences exerted by one, two, or three interacting factors on motivated behavior will vary depending on different activities, different individuals and different circumstances.


title: Social cognitive theory

text: Social cognitive theory is proposed in an agentic perspective, which suggests that, instead of being just shaped by environments or inner forces, individuals are self-developing, self-regulating, self-reflecting and proactive. Specifically, human agency operates within three modes:


title: Social cognitive theory

text: Evolving over time, human beings are featured with advanced neural systems, which enable individuals to acquire knowledge and skills by both direct and symbolic terms. Four primary capabilities are addressed as important foundations of social cognitive theory: symbolizing capability, self-regulation capability, self-reflective capability, and vicarious capability.


title: Social cognitive theory

text: Social cognitive theory revolves around the process of knowledge acquisition or learning directly correlated to the observation of models. The models can be those of an interpersonal imitation or media sources. Effective modeling teaches general rules and strategies for dealing with different situations.


title: Social cognitive theory

text: To illustrate that people learn from watching others, Albert Bandura and his colleagues constructed a series of experiments using a Bobo doll. In the first experiment, children were exposed to either an aggressive or non-aggressive model of either the same sex or opposite sex as the child. There was also a control group. The aggressive models played with the Bobo doll in an aggressive manner, while the non-aggressive models played with other toys. They found that children who were exposed to the aggressive models performed more aggressive actions toward the Bobo doll afterward, and that boys were more likely to do so than girls.


title: Social cognitive theory

text: Following that study, Albert Bandura tested whether the same was true for models presented through media by constructing an experiment he called "Bobo Doll Behavior: A Study of Aggression". In this experiment Bandura exposed a group of children to a video featuring violent and aggressive actions. After the video he then placed the children in a room with a Bobo doll to see how they behaved with it. Through this experiment, Bandura discovered that children who had watched the violent video subjected the dolls to more aggressive and violent behavior, while children not exposed to the video did not. This experiment displays the social cognitive theory because it depicts how people reenact behaviors they see in the media. In this case, the children in this experiment reenacted the model of violence they directly learned from the video.


title: Social cognitive theory

text: Modeling does not limit to only live demonstrations but also verbal and written behaviour can act as indirect forms of modeling. Modeling not only allows students to learn behaviour that they should repeat but also to inhibit certain behaviours. For instance, if a teacher glares at one student who is talking out of turn, other students may suppress this behavior to avoid a similar reaction. Teachers model both material objectives and underlying curriculum of virtuous living. Teachers should also be dedicated to the building of high self-efficacy levels in their students by recognizing their accomplishments.


title: Social cognitive theory

text: To learn a particular behavior, people must understand what the potential outcome is if they repeat that behavior. The observer does not expect the actual rewards or punishments incurred by the model, but anticipates similar outcomes when imitating the behavior (called "outcome expectancies"), which is why modeling impacts cognition and behavior. These expectancies are heavily influenced by the environment that the observer grows up in; for example, the expected consequences for a DUI in the United States of America are a fine, with possible jail time, whereas the same charge in another country might lead to the infliction of the death penalty.


title: Social cognitive theory

text: For example, in the case of a student, the instructions the teacher provides help students see what outcome a particular behaviour leads to. It is the duty of the teacher to teach a student that when a behaviour is successfully learned, the outcomes are meaningful and valuable to the students.


title: Social cognitive theory

text: Social cognitive theory posits that learning most likely occurs if there is a close identification between the observer and the model and if the observer also has a great self-efficacy. Self–efficacy is the extent to which an individual believes that they can master a particular skill. Self-efficacy beliefs function as an important set of proximal determinants of human motivation, affect, and action—which operate on action through motivational, cognitive, and affective intervening processes.


title: Social cognitive theory

text: According to Bandura, self-efficacy is "the belief in one's capabilities to organize and execute the courses of action required to manage prospective situations". Bandura and other researchers have found an individual's self-efficacy plays a major role in how goals, tasks, and challenges are approached. Individuals with high self-efficacy are more likely to believe they can master challenging problems and they can recover quickly from setbacks and disappointments. Individuals with low self-efficacy tend to be less confident and don't believe they can perform well, which leads them to avoid challenging tasks. Therefore, self-efficacy plays a central role in behavior performance. Observers who have high level of self-efficacy are more likely to adopt observational learning behaviors.


title: Social cognitive theory

text: For example, students become more effortful, active, pay attention, highly motivated and better learners when they perceive that they have mastered a particular task. It is the duty of the teacher to allow student to perceive in their efficacy by providing feedback to understand their level of proficiency. Teachers should ensure that the students have the knowledge and strategies they need to complete the tasks.


title: Social cognitive theory

text: Self-efficacy has also been used to predict behavior in various health related situations such as weight loss, quitting smoking, and recovery from heart attack. In relation to exercise science, self-efficacy has produced some of the most consistent results revealing an increase in participation in exercise.


title: Social cognitive theory

text: Identification allows the observer to feel a one-to-one similarity with the model, and can thus lead to a higher chance of the observer following through with the modeled action. People are more likely to follow behaviors modeled by someone with whom they can identify. The more commonalities or emotional attachments perceived between the observer and the model, the more likely the observer learns and reenacts the modeled behavior.


title: Social cognitive theory

text: Social cognitive theory is often applied as a theoretical framework of studies pertained to media representation regarding race, gender, age and beyond. Social cognitive theory suggested heavily repeated images presented in mass media can be potentially processed and encoded by the viewers (Bandura, 2011). Media content analytic studies examine the substratum of media messages that viewers are exposed to, which could provide an opportunity to uncover the social values attached to these media representations. Although media contents studies cannot directly test the cognitive process, findings can offer an avenue to predict potential media effects from modeling certain contents, which provides evidence and guidelines for designing subsequent empirical work.


title: Social cognitive theory

text: Social cognitive theory is pervasively employed in studies examining attitude or behavior changes triggered by the mass media. As Bandura suggested, people can learn how to perform behaviors through media modeling. SCT has been widely applied in media studies pertained to sports, health, education and beyond. For instance, Hardin and Greer in 2009 examined the gender-typing of sports within the theoretical framework of social cognitive theory, suggesting that sports media consumption and gender-role socialization significantly related with gender perception of sports in American college students.


title: Social cognitive theory

text: In health communication, social cognitive theory has been applied in research related to smoking cessation, HIV prevention, safe sex behaviors, and so on. For example, Martino, Collins, Kanouse, Elliott, and Berry in 2005 examined the relationship between the exposure to television’s sexual content and adolescents’ sexual behavior through the lens of social cognitive theory, confirming the significant relationship between the two variables among white and African American groups; however, no significant correlation was found between the two variables in the ethic group of Hispanics, indicating that peer norm could possibly serve as a mediator of the two examined variables.


title: Social cognitive theory

text: Albert Bandura defines perceived self-efficacy as “people's beliefs about their capabilities to produce designated levels of performance that exercise influence over events that affect their lives.” Self-efficacy is just one of six constructs that SCT is based on; the other five include reciprocal determinism, behavioral capability, observational learning, reinforcements, and expectations. A lack of physical activity has been shown to contribute to heart disease, type 2 diabetes, and cancer even in individuals without any other risk factors. Social cognitive theory can be helpful in identifying motivating factors that lead to increased physical activity across age and gender. A study by Yael Netz and Shulamith Raviv in 2004 found positive correlations between high levels of self-efficacy when compared to physical activity. These findings suggest the best motivational method to increase the rate of physical activity is one that first increases perceived self-efficacy. As applied to public health campaigns, the first symptom to address is low levels of perceived self-efficacy rather than low levels of physical activity, since addressing the former may rectify the latter.


title: Social cognitive theory

text: A different study conducted in 2015 observed similar results. The goal of this study was to identify if SCT could be used to “…improve physical activity (PA) interventions by identifying which variables to target to maximize intervention impact.” By following 204 overweight men over the course of a three-month weight loss program, researchers applied a longitudinal, latent variable structural equation model to test SCT-related constructs including self-efficacy, outcome expectations, intention and social support as they apply toward self-reported changes in physical activity level. Researchers found self-efficacy as the most important indicator for physical activity, while noting a non-zero effect of intention on increased physical activity. As such, weight loss programs focused on increasing the physical activity levels of participants should aim to increase participant self-efficacy in order to achieve desirable results.


title: Social cognitive theory

text: Physical activity levels, on average, decline during one’s life – particularly during adolescence. SCT can be used to explain the most prevalent contributing factors to this marked decrease in physical activity among adolescents and then develop appropriate intervention methods to best change this phenomenon. One study in particular addresses this subject through the SCT framework. Researchers mailed questionnaires to a random sample of 937 undergraduate students in the U.S. to measure the influence of personal, behavioral, and environmental factors on exercise behavior change. For both men and women, increased self-efficacy was the most important predictor in signifying positive changes to exercise behavior and physical activity.


title: Social cognitive theory

text: SCT can be applied to public health campaigns in an attempt to foster a more healthy public through exercise; as it relates, multiple studies find self-efficacy as the most important variable in predicting high- or low-levels of physical activity.


title: Social cognitive theory

text: Miller's 2005 study found that choosing the proper gender, age, and ethnicity for models ensured the success of an AIDS campaign to inner city teenagers. This occurred because participants could identify with a recognizable peer, have a greater sense of self-efficacy, and then imitate the actions to learn the proper preventions and actions.


title: Social cognitive theory

text: A study by Azza Ahmed in 2009 looked to see if there would be an increase in breastfeeding by mothers of preterm infants when exposed to a breastfeeding educational program guided by SCT. Sixty mothers were randomly assigned to either participate in the program or they were given routine care. The program consisted of SCT strategies that touched on all three SCT determinants: personal – showing models performing breastfeeding correctly to improve self-efficacy, behavioral –weekly check-ins for three months reinforced participants' skills, environmental – mothers were given an observational checklist to make sure they successfully completed the behavior. The author found that mothers exposed to the program showed significant improvement in their breastfeeding skills, were more likely to exclusively breastfeed, and had fewer problems then the mothers who were not exposed to the educational program.


title: Social cognitive theory

text: Social cognitive theory emphasizes a large difference between an individual's ability to be morally competent and morally performing. Moral competence involves having the ability to perform a moral behavior, whereas moral performance indicates actually following one's idea of moral behavior in a specific situation. Moral competencies include:


title: Social cognitive theory

text: As far as an individual's development is concerned, moral competence is the growth of cognitive-sensory processes; simply put, being aware of what is considered right and wrong. By comparison, moral performance is influenced by the possible rewards and incentives to act a certain way. For example, a person's moral competence might tell them that stealing is wrong and frowned upon by society; however, if the reward for stealing is a substantial sum, their moral performance might indicate a different line of thought. Therein lies the core of social cognitive theory.


title: Social cognitive theory

text: For the most part, social cognitive theory remains the same for various cultures. Since the concepts of moral behavior did not vary much between cultures (as crimes like murder, theft, and unwarranted violence are illegal in virtually every society), there is not much room for people to have different views on what is morally right or wrong. The main reason that social cognitive theory applies to all nations is because it does not say what is moral and immoral; it simply states that we can acknowledge these two concepts. Our actions in real-life scenarios are based on whether we believe the action is moral and whether the reward for violating our morals is significant enough, and nothing else.


title: Social cognitive theory

text: In series TV programming, according to social cognitive theory, the awarded behaviors of liked characters are supposed to be followed by viewers, while punished behaviors are supposed to be avoided by media consumers. However, in most cases, protagonists in TV shows are less likely to experience the long-term suffering and negative consequences caused by their risky behaviors, which could potentially undermine the punishments conveyed by the media, leading to a modeling of the risky behaviors. Nabi and Clark conducted experiments about individual’s attitudes and intentions consuming various portrayals of one-night stand sex– unsafe and risky sexual behavior, finding that individuals who had not previously experienced one night stand sex, consuming media portrayals of this behavior could significantly increase their expectations of having a one night stand sex in the future, although negative outcomes were represented in TV shows.


title: Born This Way (song)

text: "Born This Way" is a song by American singer Lady Gaga, and the lead single from her second studio album of the same name. Written by Gaga and Jeppe Laursen, who produced it along with Fernando Garibay and DJ White Shadow, the track was developed while Gaga was on the road with the Monster Ball Tour. Inspired by 1990s music which empowered women, minorities and the LGBT community, Gaga explained that "Born This Way" was her freedom song. It was also inspired by Carl Bean and his song "I Was Born This Way", released in 1977. She sang part of the chorus at the 2010 MTV Video Music Awards and announced it as the lead single from the album, released on February 11, 2011.


title: Born This Way (song)

text: "Born This Way" is backed by rumbling synth sounds, a humming bass and additional chorus percussion, with sole organ toward the end. The lyrics discuss the self-empowerment of minorities including the LGBTQ+ community and on themes related to racial minorities. Critics positively reviewed the song, calling it a "club-ready anthem". The song reached number one in over 25 countries and was her third single to top the US "Billboard" Hot 100 chart and the 1,000th song in that chart's history (since 1958) to reach number one. "Born This Way" has sold 8.2 million copies worldwide, making it one of the best-selling singles of all time.


title: Born This Way (song)

text: Nick Knight directed the accompanying music video, which was inspired by surrealist painters like Salvador Dalí and Francis Bacon. Gaga is depicted as giving birth to a new race during a prologue. After a series of dance sequences, the video concludes with the view of a city populated by this race. Critics noted the video's references to the work of Madonna, Michael Jackson, Björk, and the late fashion designer Alexander McQueen, as well as to Greek mythology and surrealism.


title: Born This Way (song)

text: Gaga performed the song at the 53rd Annual Grammy Awards after coming out of an incubating vessel. Shortly after, she added it to the setlist of the last leg of the Monster Ball Tour. "Born This Way" was later performed on television shows, such as "Saturday Night Live", "Dick Clark's New Year's Rockin' Eve" and "Good Morning America", many of the singer's tours, and it was notably part of her Super Bowl LI halftime show set. The song was treated with different remixes, including a "Country Road" version recorded by Gaga herself and another by Indian production duo Salim–Sulaiman. The song has been covered by artists such as Alice Cooper, Madonna, and Katy Perry.


title: Born This Way (song)

text: In 2010, Lady Gaga was touring for her second world tour, the Monster Ball. At that time she started developing ideas for her second studio album, "Born This Way". The first song written and recorded for the album was the title track itself which she wrote in Liverpool and Manchester, England, described by Gaga as a "magical message" song. She wrote it in ten minutes and compared the process to an Immaculate Conception. DJ White Shadow, one of the producers of the track, credited Gaga for coming up with the idea and the theme behind the song. "We recorded it around the world, on the road, in whatever was available. It sounds like it reads, but not like you think until you hear it," he added. Gaga wanted to record her own freedom song, and explained with "Billboard" her inspiration behind the song:


title: Born This Way (song)

text: I want to write my this-is-who-the-fuck-I-am anthem, but I don't want it to be hidden in poetic wizardry and metaphors. I want it to be an attack, an assault on the issue because I think, especially in today's music, everything gets kind of washy sometimes and the message gets hidden in the lyrical play. Harkening back to the early '90s, when Madonna, En Vogue, Whitney Houston and TLC were making very empowering music for women and the gay community and all kind of disenfranchised communities, the lyrics and the melodies were very poignant and very gospel and very spiritual and I said, 'That's the kind of record I need to make. That's the record that's going to shake up the industry.' It's not about the track. It's not about the production. It's about the song. Anyone could sing 'Born This Way'. It could've been anyone.


title: Born This Way (song)

text: In May 2021, during the 10th anniversary of the album, Gaga revealed that it was inspired by Carl Bean and his song "I Was Born This Way", released in 1977. On her social media, she wrote, "'Born This Way', my song and album, were inspired by Carl Bean, a gay black religious activist who preached, sung and wrote about being Born This Way."


title: Born This Way (song)

text: On February 8, 2011, Gaga tweeted the words "" ("Three Days"), along with a picture of the official single artwork, via TwitPic. Gaga is shown topless in the black-and-white cover art and displays the tattoos on her back. Her hair is air-blown and she wears heavy make-up while sharp edges protrude from her face and shoulders. The artwork was designed by Gaga and her longtime stylist, Nicola Formichetti and was photographed by Nick Knight. It was described by Charlie Amter from "The Hollywood Reporter" as harkening back to the classic record covers from the 1980s. He compared it to the artworks by bands like Missing Persons, Roxy Music and Duran Duran. Tanner Stransky from "Entertainment Weekly" gave a positive review of the cover art, feeling that Gaga looked almost "animalistic" in the picture, and her flowing hair made her look like a creature from the African jungle. She also added that the artwork was "totally and completely fierce". Archana Ram from the same publication found similarities between the "Born This Way" cover art and Kylie Minogue's cover art for her 2007 single "2 Hearts". Nicole Eggenberger from "OK!" described the artwork as a perfect balance between the singer's "wild side" and her "glamorous" looks. Leah Collins from "Dose" believed that the extreme make-up and tattoos were an ironic play on the title of the song.


title: Born This Way (song)

text: Gaga had sung a few lines from the song while accepting the 2010 MTV Video Music Award for Video of the Year, for "Bad Romance". Given as a Christmas gift to her fans, Gaga announced, via Twitter, the release dates of the album and the lead single at the stroke of midnight on New Year's Day, 2011. The single was dated to be released on February 13, 2011, while the album on May 23, 2011. Supplementing this announcement came a black-and-white photograph in which Gaga, according to Jocelyn Vena from MTV, is "nude from the waist down, with her hair blowing about, and sporting a jacket with 'Born This Way' emblazoned in what looks like bedazzled jewels." In late January 2011, Gaga released the lyrics of the song, before announcing that she planned to release the single two days prior to its stipulated date. Hence the song was premiered on radio stations worldwide at 6 a.m. EST on February 11, 2011, and was released for digital download from online retailers at 9 a.m. EST the same day.


title: Born This Way (song)

text: "Born This Way" was written by Gaga and Jeppe Laursen (formerly of the band Junior Senior), and produced with Paul Blair (a.k.a. DJ White Shadow) and Fernando Garibay, while it was mixed at Abbey Road Studios in London and Germano Studios in New York. The electropop song begins with Gaga's voice uttering the line "It doesn't matter if you love him or capital H-I-M" on a loop, backed by a rumbling synth sound and a humming bass. As the synths change into a beat, Gaga belts out the song's first verse, followed by the bass dropping off and the percussion-backed chorus, "I'm beautiful in my way, 'cause God makes no mistakes; I'm on the right track, baby, I was born this way", which Jocelyn Vena from MTV likened as being "meant to be heard in a big space. It's fast and hard-hitting." After the chorus she chants the line "Don't be a drag, Just be a queen", making a reference to drag queens, a number of times on top of handclaps, before moving to the second verse. After the second chorus an interlude follows, where Gaga chants the names of various communities. Sal Cinquemani from "Slant Magazine" felt that the interlude is a mixture of the music from American television show, "Glee", and the song "There But For the Grace of God Go I" by Machine. The music fades out for a moment as Gaga continues to sing, before the addition of an organ and Gaga closes the song. According to the sheet music published at Musicnotes.com by Sony/ATV Music Publishing, "Born This Way" is written in the time signature of common time, with a moderate dance beat tempo of 124 beats per minute. It is composed in the key of B major (in the F Mixolydian mode) as Gaga's voice spans the tonal nodes of F to C. "Born This Way" follows a chord progression of F–F–E–B–F in the chorus.


title: Born This Way (song)

text: The lyrics during the verses talk about empowerment, while the chorus talks about making no apologies and accepting one as themselves. It features the names of LGBT and other minority communities, which was due to the support Gaga had received from the community over the years. She also explained that since "The Fame" and "The Fame Monster" did not directly address those communities, "Born This Way" was her chance to create something that not only supported her political and social beliefs, but also empowered her to artistically say, "'I'm not being safe with this record.' I'm not trying to gain new fans. I love the fans I already have, and this is for them."


title: Born This Way (song)

text: After the early release of the lyrics, it had garnered criticism from some Asian and Hispanic communities, including Latino groups MECha and Chicanos Unidos Arizona. Radio stations in Malaysia chose to censor the part of the lyrics dealing with the acceptance of the LGBT community, due to censorship in the country of content that may be deemed offensive. In response, Gaga urged her Malaysian fans, who wanted the uncensored version to be played, to take action by stating: "It is your job and it is your duty as young people to have your voices heard. You must do everything that you can if you want to be liberated by your society. You must call, you must not stop, you must protest peaceably."


title: Born This Way (song)

text: A number of remixes were commissioned by Interscope Records, to accompany the song. The first set of remixes were done by LA Riots, Chew Fu and DJ White Shadow. Titled "Born This Way – The Remixes Part 1", the remixes were released as CD single and digital download on March 15, 2011. Another set of remixes were done by Michael Woods, Grum, Dada Life, Zedd, Bimbo Jones and Twin Shadow. It was released on March 25, 2011, for digital download only, with the name "Born This Way – The Remixes Part 2".


title: Born This Way (song)

text: Gaga released a "Country Road Version" of the song on March 15, 2011, via her Twitter account. The version opens with the sound of guitars and then introduces a fuzzed-out slide guitar and a bluesy harmonica by Tim Harris, with the original disco beats replaced by restrained brush drumming and a more laid-back vibe. Once the first chorus starts, the song chugs alongside the harmonica sounds. Just before the three-minute mark, Gaga sings new lyrics, "If I wanna make it country, baby, then it's OK, cuz I was born, I was born, I was born this way," over a picked mandolin. According to Gil Kaufman of MTV, the song breaks into full-on country-rock mode, reminiscent of late-period Bon Jovi music, in the final minute. A portion of the money earned from sales of "Country Road Version" went to the Gay, Lesbian and Straight Education Network (GLSEN).


title: Born This Way (song)

text: An Indian version of the song was done by Indian music producer duo Salim and Sulaiman Merchant. The remix was released on DesiHits.com, a website for South Asian music and entertainment news. The Merchants were discussing music projects with Anjula Acharia-Bath of DesiHits.com, when they came to learn that Gaga, who did not have much reach within the Indian diaspora, was interested in a Bollywood remix for "Born This Way". The Merchants were contacted by Gaga's manager, Troy Carter, and the remix was finalized. Sulaiman explained that they received Gaga's raw vocals from "Born This Way", and using it as a base, they designed the remix. "We sent her a rough cut of our composition for initial feedback on whether we were giving it the right groove. She loved it and that's how we went about it," he added. The Merchants used a number of Indian musical instruments like the duggi, sitar by Sunil Das, and the dhol and dholak in the chorus. Salim said that he sang a little bit of alaap to give the remix a Sufi touch, "as that's the kind of music we do and it was also about adding our signature." Gaga's management team were satisfied with their remix and wanted them to do another remix of her next song, "Judas". The Bollywood remixes were a part of the Indian track list of "Born This Way".


title: Born This Way (song)

text: "Born This Way" received generally positive reviews from music critics upon its release. Michael Cragg from "The Guardian" called the song an "almost disco anthem", and said the chorus "crashes in with the weight of a discarded meat dress". He also felt that the "campness" of the music made the lyrics sound less serious than it is. Guthrie Graves-Fitzsimmons of "The Washington Post" stated that "Born This Way" was a "hymn for LGBT Christians". Rick Florino of Artistdirect gave the song five out of five stars and labeled it as "an immediate pop classic", complimenting the hook and the chorus. Alison Schwartz from "People" added that "the club-ready anthem, complete with a few a cappella chants and Italian lyrics, shows off Gaga's powerhouse vocal chords—and knack for powerful songwriting." Jem Aswad from "Billboard" responded positively to the anthemic nature of the song, and felt that it would become a staple song to be played on the radio and dancefloors in the following months. Nick Levine of Digital Spy gave the song five out of five stars, describing it as a "life-affirming equality anthem, a straight-up club pumper and a flat-out fantastic pop song." Writing for "Slant Magazine", Sal Cinquemani understood that Gaga "has tapped into something truly special, maybe even important." He also complimented the song's underlying message of equality. Meghan Casserly of "Forbes" expected "Born This Way" to be the biggest gay anthem ever, since, according to her, it was written with that purpose in mind, and she also points out that it is "the next girl power song". Annie Yuan of "The Hollywood Reporter" labeled the song "a hodge-podge of other pop tunes." Kevin O'Donnell of "Spin" gave a mixed review, pointing out lyrical similarities to Michael Jackson's "Black or White" (1991). He added that seeing the hype surrounding the project, he expected Gaga to release a song "as epic and instantly classic as the Beatles' 'A Day in the Life' or Queen's 'Bohemian Rhapsody'. Imagine what she'd come up with if she'd spent more than ten minutes writing [the song]."


title: Born This Way (song)

text: Many critics noted similarities between "Born This Way" and Madonna's 1989 song, "Express Yourself", referring to "similar chords, same uplifting, girl-power theme (...), same tempo". Rob Sheffield of "Rolling Stone" acknowledged the influences of Madonna but pointed out that they would not overshadow the song, as it "[summed] up all the complex Gaga mythos, all her politics and Catholic angst and smeared lipstick, in one brilliant pop blast." Caryn Ganz, while writing for Yahoo! Music, criticized "Born This Way", stating that the song was "overworked, overwrought, noisy, cheesy, and very, very derivative." She specifically noted the similarities to songs like "When Love Takes Over" (2009), "Waterfalls" (1995), and three of Madonna's songs: "Express Yourself", "Ray of Light" (1998), and "Vogue" (1990). Megan Friedman from "Time" and Marissa Moss from "The Huffington Post" summarized their reaction as "mixed", due to the similarities they found with "Express Yourself". Neil McCormick of "The Daily Telegraph" noted that the imitative nature of the song would affect perceptions of Gaga's artistry, since "Born This Way" was "[basically] a reworking of Madonna's 'Express Yourself' with a touch of 'Vogue', which is a bit too much Madonna for someone who is trying to establish her own identity as the, er, new Madonna." The song has also attracted some academic attention: Juliet A. Williams, Professor of Gender studies UCLA, mentioning Madonna's "Express Yourself" and Judith Butler's "Gender Trouble", points out its post-essentialist feminist message.


title: Born This Way (song)

text: Ann Powers of the "Los Angeles Times" concluded that "Born This Way" had an entirely different message from the Madonna songs it was being compared to and further defended it by saying, "Whether its sound comes too close to one or another Madonna song seems beside the point; what current pop hit doesn't go green by recycling something familiar?". Gaga herself addressed the comparisons on "The Tonight Show with Jay Leno", explaining that she had received an e-mail from Madonna's representatives, who had mentioned their support for "Born This Way". "If the Queen says it shall be, then it shall be," she added. CNN later reported that Madonna's representatives were not aware that the singer, or her team, had sent Gaga an e-mail regarding the situation. Two months later, while getting interviewed by "NME" magazine, Gaga further addressed the comparisons to "Express Yourself":


title: Born This Way (song)

text: Why would I try to put out a song and think I'm getting one over everybody? That's retarded. I will look in your eyes and tell you that I'm not dumb enough or moronic enough to think that you are dumb or moronic enough not to see that I would have stolen a melody. If you put the songs next to each other, side by side, the only similarities are the chord progression. It's the same one that has been in disco music for the last 50 years. Just because I'm the first fucking artist in 25 years to think of putting it on Top 40 radio, it doesn't mean I'm a plagiarist, it means I'm fucking smart. Sorry.


title: Born This Way (song)

text: When interviewed by ABC News in 2012, Madonna was asked about the similarities between "Born This Way" and "Express Yourself", stating: "When I heard ['Born This Way'] on the radio ... I said, 'that sounds very familiar' ... It felt reductive." She also came to report to the Newsweek Daily Beast Company what she had in mind when she heard "Born This Way": "I thought, 'What a wonderful way to redo my song'. I mean, I recognised the chord changes. I thought it was... interesting."


title: Born This Way (song)

text: In a 2021 review of "Born This Way The Tenth Anniversary", Owen Myers of "Pitchfork" stated that, "of the whole record, it's the song that has aged least well, both for its essentialist message and dated electropop." He went on to reference Owen Pallett's 2014 article for "Slate", saying that "its major-key composition was a departure from the 'sexy, spooky' minor-key songwriting of Gaga's biggest hits. In an aim to reach everyone, she broke from her own winning formula. In 2011, the unsubtle 'Born This Way' may have been what the world needed, and it's intensely meaningful to many queer people—including Gaga, who has the phrase tattooed on her left thigh." He concluded by expressing a wish that "a better song had become the "de facto" soundtrack to LGBTQ+ rights in the Obama era."


title: Born This Way (song)

text: At the end of 2011, "Slant Magazine" listed "Born This Way" as the fifth best song of the year, with Ed Gonzalez from the website commenting that the song is an "unmistakable landmark pop-cultural moment, a post-irony, post-metaphor, pansexual celebration, aimed squarely at the audience that probably needs it the most." It also placed the same rank on the list by MTV, with Gil Kaufman from the channel saying that the song and the music video "added to Gaga's mind-tripping visual canon and further established her as one of the biggest triple threats in music." "PopMatters" listed it at position 73 on their list of "The 75 Best Songs of 2011", with Sean McCarthy from the website saying that although "Born This Way" "is a labor to listen to because of its over-the-topness. No such problems exist with the title track. All of the Gaga's strengths on her one-hour monolith are condensed into a four-minute unstoppable ode to the outcasts of the world." Furthermore, "The Guardian" listed "Born This Way" as the 18th best song of 2011.


title: Born This Way (song)

text: The video won two awards at the 2011 MTV Video Music Awards, in the categories of Best Female Video and Best Video With a Message. Along with the song winning the 2011 MTV Europe Music Award for Best Song, Gaga won also the award for Best Video with "Born This Way" at the same event. The song also set a world record at the Guinness World Records as the "Fastest-selling Single" on iTunes, with over a million copies sold in five days since its release.


title: Born This Way (song)

text: In the United States, "Born This Way" debuted at number one on the "Billboard" Hot 100 chart, for the issue dated February 26, 2011, as well as becoming Gaga's third number one single. "Born This Way" became the nineteenth song to debut at number one on the Hot 100, and the 1000th number one single in the chart's history. The song sold 448,000 digital downloads in three days, the most downloads in a first week by a female artist, beating the previous record held by Britney Spears' "Hold It Against Me". The record would be later broke by Taylor Swift's "We Are Never Ever Getting Back Together" when it sold 623,000 digital copies in its debut week in the week ending September 1, 2012. "Born This Way" remained at the top the following week, selling another 509,000 copies in its first full week of release, and becoming the first song to enter the Hot 100 at number one and hold that position for a second week since Clay Aiken's "This Is The Night" in 2003. Subsequently, the song held the number one spot for six weeks making it the only song to debut at number one and stay there for over a month since Elton John's "Candle in the Wind 1997" in 1997.


title: Born This Way (song)

text: "Born This Way" went on to break the record for the fastest selling song in iTunes history, selling a million copies worldwide in five days. The song's CD single sold 24,000 copies in its first week of release and a total of 40,000 copies till March 2011. "Born This Way" sold 3.47 million digital copies in 2011 and became the tenth-best-selling song of the year in the United States. It is her eighth consecutive song to top the two million mark, and her sixth song to reach three million downloads. As of February 2019, it has sold 4.3 million digital downloads in the US.


title: Born This Way (song)

text: "Born This Way" debuted at number 14 on the "Billboard" Pop Songs chart with 4,602 plays after three days of availability, the highest detections total by a debuting song in the chart's history. It was the second-highest debut on that chart, behind Mariah Carey's "Dreamlover" (1993) which debuted at number 12. In its seventh week on the chart, "Born This Way" reached the top, becoming Gaga's seventh number-one song there, thus tying her with Pink and Rihanna as the artist's with the most number one songs on the chart. In addition, the song broke the overall airplay debut record with a first week audience of 78.5 million, entering at number six on the Radio Songs chart; this feat surpassed Janet Jackson's "All for You" (2001) which had debuted at number nine with an audience of 70 million. "Born This Way" topped the chart after seven weeks, becoming her second number-one radio song after "Paparazzi". "Born This Way" topped the Japan Hot 100 and Hot Dance Club Songs charts, reached top-ten on Latin Pop Airplay and Adult Contemporary, and number 11 on Adult Top 40 charts. "Born This Way" took the number one position in its debut week in Canada, remaining atop the Canadian Hot 100 for seven weeks.