New Melody Feat Kay Oh
At the age of 19, Thornton traveled to Burbank, California to audition for the Pussycat Dolls.[5] The group's founder Robin Antin, struck a deal with Interscope Geffen A&M Records' Jimmy Iovine to develop the Pussycat Dolls into a brand and create a separate recording pop group.[6] Thornton was selected to strengthen their vocal ability and joined Carmit Bachar, Ashley Roberts, Nicole Scherzinger, Jessica Sutta, and Kimberly Wyatt,[7] and signed a contract with the Pussycat Dolls partnership, receiving a percentage of the group's revenues.[6] Thornton along with Bachar supplied vocals as secondary vocalists, while Scherzinger assumed the majority of the vocals as the lead singer.[8] Thornton was the youngest and the only member who did not have a background in dance.[9][10] The group released their first single, "Don't Cha" (featuring Busta Rhymes), which stands as group's most successful single to date peaked number two on the Billboard Hot 100 chart and reached the top in other 15 countries.[11][12] Thornton didn't like the song in the beginning, as she found too controversial.[13] They released their self-titled debut album in September 2005. Subsequent singles, "Stickwitu and "Buttons" also reached the top five on the Billboard Hot 100 chart.[14] PCD went on to sell seven million copies worldwide and established the Pussycat Dolls as viable in the music industry earning them a reputation among the century's few breakout successes.[15][16]
New Melody Feat Kay Oh
Thornton was featured on Jibbs' single "Go Too Far", which was released on March 2007;[17] it entered the top-twenty on the New Zealand Singles Chart.[18] Their second and final studio album Doll Domination was released in September 2008, the album attained its highest peak position on the US Billboard 200, but it is considered a commercial disappointment selling less than 400,000 copies in the US.[19] Doll Domination included the singles "When I Grow Up" and "I Hate This Part", which reached the top twenty on the US Billboard Hot 100 chart.[20] In January 2009, the group embarked on the Doll Domination Tour, their second headlining concert tour, which highlighted stops in Europe, Oceania and Asia,[21] and grossed over $14 million.[a] Following the release of the group's single 2009 "Jai Ho! (You Are My Destiny)", tensions in the group rose due to Scherzinger being billed as a featured artist on the release. This would go on to lead to a public outburst by Thornton during the group's tour appearance while opening for The Circus Starring Britney Spears.[23]
On May 24, 2012, a music video for the cover version of "Bulletproof" from P.O.Y.B.L, featuring Bobby Newberry, premiered.[39][40] On June 14, 2012, she made a cameo appearance in a Bobby Newberry's music video for his debut single Dirrty Up, alongside ex-Pussycat Doll member Ashley Roberts.[41]
"Someone to Watch Over Me" was introduced in the first preview of the musical Oh, Kay! in Philadelphia on October 18, 1926, by Gertrude Lawrence, the British star of musical revues and musical comedy. The story was typical for Twenties shows that featured complicated plots tossing together the rich and famous with the hoi polloi. This one included American millionaires, flappers, British aristocrats hard-up for money, and bootleggers all involved in "mistaken identities and zany deceptions," which provide "the usual opportunities for the principals and chorus to burst into song" (Hyland, p. 112). "Someone To Watch Over Me," one of the great love songs in American musical theater history, is performed by Lawrence in the title role of Kay. During the second act, she appears on stage alone pouring out her heart to a rag doll. Kay, a British aristocrat disguised as a housemaid in love with an American playboy is feeling lonesome and insecure. She is despairing of her chances for winning his affection, or, for that matter, of ever finding anybody to care for her. She shares her feelings of needing someone to watch over her with the doll.
Apparently, according to Ira Gershwin's recollection, the melody for "Someone to Watch Over Me" was written before the Gershwin brothers had a clear idea of where it would be used in Oh, Kay! It was not unusual for the songs in Gershwin shows of the period to be at least sketched out before their exact use was determined. So while they were awaiting the snail-mail delivery of the book from Wodehouse and Bolton, George came up with a melody that was, as Ira tells it , "fast and jazzy," a rhythm tune that would most likely, had it been left alone, have turned out to be a "dance-and-ensemble number" to be used somewhere in the show. However, at one point while George was playing it for Ira, something caused him to slow down the tempo. One account suggests it occurred when their sister Frances Gershwin walked into the room and distracted George. In any case, upon hearing the melody played this way, both George and Ira were struck by its potential to become a "wistful and warm" ballad. They then decided to retain the slower version but put it aside until they discovered the right place in the show to use it. Only then would Ira would create an appropriate lyric (Lyrics on Several Occasions, p 111, paperback Ed.).
Both Deena Rosenberg and Michael Feinstein have stated more or less flat out that the Gershwin's never wrote a song for a show without a dramatic context in mind. The Twenties was a period in the history of American musical theater when musical shows were transitioning away from the revue format into show scores featuring songsbody background-color: #FBECD5;integratedinto a plot. Nothing, of course is ever absolute, and "Someone To Watch Over Me," though written during the aforesaid period by songwriters who were on the cutting edge of modernity in musical theater, was nevertheless, not written with an exact dramatic context in mind. George Gershwin composed the music knowing only the show's general structure, a structure that would include, like all shows of the time, up-tempo dance numbers; therefore, he wrote a lively piece of music and labeled the tempo "scherzando" (lively and playful). He believed he was writing a rhythm number that would get plugged into the show to accompany an animated dance. Ira knew this also and believed he would write a lyric to suit such a number but couldn't do it until "we knew the exact spot where [the piece] would fit" (Furia, p. 58). However, when (as described above) they discovered that the melody was actually more suited to becoming a ballad, plans had to change. The song would go into a slot where a ballad, not an ensemble dance number, was needed. Moreover, when, after the lyric had been written, the number was moved from one act and scene to another, Ira, was faced with the fact that his lyric would now somehow have to fit a different dramatic context. 041b061a72