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11 Hit Songs Originally Intended for Other Artists

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In the music world, songs get passed around like a hot potato. Demo songs are sent to one artist, turned down, and recorded by another. Tracks bend gender rules, with Aerosmith snatching a power ballad from Celine Dion and Chris Brown handing over one of his tunes to Rihanna. Here are just 11 of the many songs that made it big after being turned down by other singers.

1. “Telephone” — Performed by Lady Gaga, meant for Britney Spears

Before Stefani Germanotta was known as Lady Gaga, she was a songwriter, penning songs for The Pussycat Dolls and Britney Spears. Gaga originally wrote "Telephone" to be included in Spears' Circus album, but the track was left on the cutting room floor. A demo with Spears' vocals suposedly exists, but there's doubt that it's actually the "Oops!" songstress. Gaga seized the tune back up and saved it for a rainy day—better known as The Fame Monster.

2. “How Will I know” — Performed by Whitney Houston, meant for Janet Jackson

Songwriters George Merrill and Shannon Rubicam wrote this Whitney Houston power ballad with Janet Jackson in mind. A&M Records asked the duo to send this song to Janet's people, but the "Rhythm Nation" singer politely passed. She was in the middle of recording Control, and the track wasn't right for the album's vision. The label held onto the song and eventually gave it to Houston, turning it into one of her signature tunes.

3. “Halo” — Performed by Beyonce, meant for Leona Lewis

This one's simple: Leona was too busy to record the track, so Beyonce snatched it up. Behind the scenes, Lewis' mentor Simon Cowell was working diligently to get Ryan Tedder to write the song for her, but the wait was too much for Tedder. Tedder has a different story, though, saying the song was intended for Beyonce all along; he just gave it to Lewis to make Beyonce hurry up with the recording process. His reasoning: If Beyonce thought another A-Lister wanted the single, she'd want it more.

4. “Hero” — Performed by Mariah Carey, meant for Gloria Estefan

Carey says this U.S. Billboard No. 1 was originally intended to be used for the 1992 Dustin Hoffman film of the same name, but the film's producers went with Luther Vandross' "Heart of a Hero" instead. While writing the chart-topper, Carey was told the song would be for Gloria Estefan and even said herself that the song didn't match her own style. After playing it for record executives, they insisted that Carey keep it for herself, so she made minor adjustments to give it a more R&B style and sent it to radio stations.

5. “I Don’t Want to Miss a Thing” — Performed by Aerosmith, meant for Celine Dion

When Liv Tyler got her first major theatrical role in Armageddon, her father, lead singer of Aerosmith, was supposed to author a sentimental song with his band for the film. After being out on the road promoting their album Nine Lives, the band went into the studio and found it difficult to come up with an appropriate song, but the clock was ticking. Then they found a track by acclaimed songwriter Diane Warren, originally intended for Celine Dion.

6. “Since U Been Gone” — Performed by Kelly Clarkson, meant for Pink first then passed to Hilary Duff

Clarkson may have been the first to win American Idol, but she was third in line for this track after Pink and Hilary Duff both snubbed it.

7. “Miss Independent” — Performed by Kelly Clarkson, meant for Destiny’s Child first then passed to Christina Aguilera

It looks like Clarkson has been accustomed to getting the left-overs from the very beginning. Featured on her first album, this tune was first offered to Destiny's Child and then to Christina Aguilera, who added lyrics but then decided not to use it for her Stripped album. Clarkson wrote the bridge and finished it before recording. Aguilera admits that Clarkson nailed the cobbled-together track.

8. “I’m A Slave 4 U” — Performed by Britney Spears, meant for Janet Jackson

Spears almost missed out on traipsing around the VMA stage with a python wrapped around her neck. Well, she may have done that, just not to the tune of "Slave." Producers The Neptunes originally conceptualized the song to fit for Janet Jackson's typically sexually-charged direction, but eventually gave it to the girl next door for her upcoming mature album.

9. “Toxic” — Performed by Britney Spears, meant for Kylie Minogue

"Toxic" was written by the same person who gave Minogue her well-known "Can't Get You Out of My Head" chart-topper. She's never elaborated much on why she turned down the song, but the tune got Spears her first (and only) Grammy.

10. “Umbrella” — Performed by Rihanna, meant for Britney Spears first then passed to Mary J. Blige

In the beginnings of Rihanna's career, she got the scraps (including "S.O.S.," which was turned down by Christina Milian). Spears was finished recording her album, so label executives turned down "Umbrella," sending it over to Mary J. Blige. Blige turned it away, too, so it ended up in the hands of the Barbados-born singer. Rihanna took the song and was awarded a Grammy in 2008.

11. “Disturbia” — Performed by Rihanna, meant for Chris Brown

This song was originally intended for the re-release of Chris Brown's Exclusive album—but once Rihanna heard it, it was hers. Brown handed it over, saying it would serve better as a female-oriented song.

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5 Quick Facts About the Hashtag
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The use of the hashtag as a Twitter tool to denote a specific topic in order for the masses to follow along turns 10 years old today, having first been suggested (in a Tweet, naturally) by Silicon Valley regular and early adopter Chris Messina back in 2007. Here’s a little history on its evolution from the humble numerical sign to the social media giant it is today.

1. IT COMES FROM THE LATIN TERM FOR “POUND WEIGHT.”

There’s no definitive origin story for the hash (or pound) symbol, but one belief is that when 14th-century Latin began to abbreviate the term for pound weight—libra pondo—to “lb,” a horizontal slash was added to denote the letters were connected. (The bar was called a tittle.) As people began to write more quickly, the letters and the tittle became amalgamated, eventually morphing into the symbol we see today.

2. IT SHOULD ACTUALLY BE CALLED AN OCTOTHORPETAG.

The symbol portion of the hashtag eventually made its way to dial-button telephones, the result of AT&T looking forward to phones interacting with computers. In order to complete a square keypad with 10 digits (including 0), they added the numerical sign and an asterisk. AT&T employee Don MacPherson thought they sign needed a more official name, so he chose Octothorpe—“octo” because it has eight points, and “thorpe” because he was a fan of football hero Jim Thorpe.

3. TWITTER WASN’T BIG ON THE IDEA AT FIRST.

When web marketer Messina had the notion to add hashtags to keep track of conversations, he stopped by Twitter’s offices to make an informal pitch. He came at a bad time: co-founder Biz Stone was trying to get the software back online after a crash and dismissed the idea with a “Sure, we’ll get right on that” burn. Undeterred, Messina started using them and the habit caught on.

4. IT’S IN THE OXFORD DICTIONARY.

By 2014, respect for the hashtag had grown to the point where the venerable Oxford English Dictionary gave the word its stamp of approval. Their entry: "hashtag n. (on social media web sites and applications) a word or phrase preceded by a hash and used to identify messages relating to a specific topic; (also) the hash symbol itself, when used in this way."

5. THERE ARE SOME HASHTAG ALL-TIMERS.

Hashtags can highlight interest in everything from political movements to breaking news stories, but the frequency of their use is often tied into popular culture. The most popular TV-related tag has been #TheWalkingDead; #StarWars sees a lot of action; and #NFL dominates sports-related Tweets.  

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12 Sharp Facts About Hellraiser
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In 1987, the New World Pictures released Hellraiser, a horror film about a family who opens a puzzle box and invites hell in their lives in the form of pleasure-pain creatures known as Cenobites, who are lead by Pinhead (played by Doug Bradley). Unlike many other horror films at the time, Hellraiser wasn’t a slasher film, and Pinhead wasn’t a boogeyman.

British novelist, playwright, and screenwriter Clive Barker wanted to direct a feature film, so he adapted his 1986 horror novella, The Hellbound Heart, into Hellraiser. Despite the graphic nature of the film, it’s really a love story between Julia Cotton and her demented—and skinless—lover Frank  ... whose relationship just so happens to revolve around sadistic torture.

Hellraiser was produced for around a $1 million and grossed $14 million, making it lucrative enough to spawn nine sequels, including this year’s Hellraiser: Judgment. (Bradley hasn’t starred in a Hellraiser film since 2011’s Hellraiser: Revelations, and Barker didn’t direct or write any of the sequels, most of which were direct-to-DVD releases.) As we near the 30th anniversary of its release, let's take a look back at this horror classic.

1. THE ORIGINS OF PINHEAD CAME FROM A 1973 PLAY.

Before Doug Bradley uttered the catchphrase “We’ll tear your soul apart,” Clive Barker directed him in a 1973 play called Hunters in the Snow, in which Bradley played the Dutchman, a torturer who would become the basis for Pinhead.

“The character I played in Hunters, the Dutchman, I can see echoes of later... Pinhead in Hellraiser," Bradley said. "This strange, strange character whose head was kind of empty but who conveyed all kinds of things.”

Barker’s mid-1980s short story “The Forbidden”—which was adapted into Candyman—from his "Books of Blood" series, featured the first incarnation of Pinhead’s nails. “One image I remember very strongly from 'The Forbidden' was that Clive had built what he called his nail-board, which was basically a block of wood which he’d squared off and then he’d banged six-inch nails in at the intersections of the squares,” Bradley said. “Of course, when I saw the first illustrations for [Pinhead], it rang a bell with me that here was Clive putting the ideas that he’d been playing around with the nail-board in 'The Forbidden,' now 10, 15 years later. He’d now put the image all over a human being’s face.”

2. CLIVE BARKER CAST “REAL ACTORS.”

Unlike many other horror movies of the time, which were more concerned with gore than great acting, Barker insisted that they look for real talent in the casting. “I’m not just taking the 12 most beautiful youths in California and murdering them,” Barker told The Washington Post in 1987. “I’ve got real actors, real performers—and then I’m murdering them.” The “real” refers to British theater actors like Bradley, Clare Higgins, and Andrew Robinson.

3. PINHEAD WASN’T SUPPOSED TO BE ON THE POSTER.

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Bradley said the filmmakers wanted skinned Frank to be on the poster, but the studio said no to the grotesque imagery, so Pinhead was used on the poster instead. “Maybe that came from Clive, because what we get in that image of Pinhead with the box is the heart of the Hellraiser mythology,” Bradley said. “If you put The Engineer or the skinned man on the poster, it’s an amazing image but it’s just an image, and it could come from any movie.” Bradley thought using Pinhead’s face made more sense. “The big success of Pinhead is because the image is so original, so startling. It is just an incredible image to look at, and that made a big difference in terms of the public's perception of the movie.”

4. NO ONE KNEW THAT DOUG BRADLEY WAS PINHEAD.

Bradley’s Pinhead mug was everywhere—on the cover of magazines and on the movie’s poster—but no one mentioned his name. “It was great to be so heavily featured, but there was no way to prove to anyone that it was actually me,” Bradley said. “Those who were following Hellraiser at the time were wondering where the guy with the pins was! Well I can tell you where I was—I was sitting at home in England, watching it all happen from the sidelines.”

5. THE CENOBITES' DESIGN WAS INSPIRED BY S&M CLUBS.

In the box set’s liner notes, Barker wrote that the Cenobites's “design was influenced amongst other things by punk, by Catholicism, and by the visits I would take to S&M clubs in New York and Amsterdam.” Costume designer Jane Wildgoose created the costumes, based on Barker’s instruction of “repulsive glamour.”

“The other notes that I made about what he wanted was that they should be ‘magnificent super-butchers,’” Wildgoose said.

As for Pinhead, Barker said he “had seen a book containing photographs of African fetishes: sculptures of human heads crudely carved from wood and then pierced with dozens, sometimes hundreds, of nails and spikes. They were images of rage, the text instructed.”

6. IT'S REALLY A LOVE STORY.

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Julia is forced to bring men back to her house and murder them for Frank so that he can replenish his flesh. Barker looked at Hellraiser as more of a love story, with Julia committing these heinous acts in the name of love, not just to be brutal for no reason.

“She’s not committing murder in the way that Jason in the Friday the 13th films commits murder—just for the sake of blood-letting —she’s doing it for love,” Barker told Samhain. “So there is a sympathetic quality about her, enhanced hugely in my estimation by the fact that Clare Higgins does it so well.”

7. BARKER’S GRANDFATHER INSPIRED THE PUZZLE BOX.

When a person twists the box, known as the Lament Configuration, it summons the Cenobites from the gates of hell into the individual's world. “I wanted to have access to hell in the book and in the first movie, explored by something rather different than drawing a circle on the floor with magical symbols around it,” Barker told WIRED. “That seemed rather stale and rather old.”

Barker explained his grandfather was a cook on ship and brought back a puzzle box from the Far East. “So when I went back to the problem of how to open the doors of hell, the idea of [using] a puzzle box seemed interesting to me. You know, the image of a cube is everywhere in world culture, whether it’s the Rubik’s Cube or the idea of the [Tesseract] in The Avengers movies. There’s a lot of places where the image of a cube as a thing of power is pertinent. I don’t know why that is, I don’t have any mythic explanation for it, but it seems to work for people.”

8. ROGER EBERT WASN'T A FAN OF THE FILM.

Roger Ebert gave Hellraiser just a half star when he reviewed it in 1987. “Who goes to see movies like this? This is a movie without wit, style, or reason,” he wrote, adding that, “I have seen the future of implausible plotting, and his name is Clive Barker.”

9. SOMEONE HAD THE JOB OF MAGGOT AND COCKROACH WRANGLER.

In England, there was a law in which cockroaches of both sexes weren’t allowed on set, because they could have mated and caused an infestation. So Barker had to hire someone to oversee the situation. “The wrangler, this is the honest truth, had to sex the roaches,” Barker told an audience at a Hellraiser screening. “They were all male. And we had a fridge. They move very fast, so the only way to slow them down was to chill them. We chilled the maggots and the roaches. We'd open it up and it was all reassuring. It was fun.”

10. BARKER PREFERS "HELL PRIEST" TO "PINHEAD."

In The Hellbound Heart, the Cenobite with pins sticking out of his head is called The Hell Priest. One of the special effects guys who worked on the movie gave the character his nickname. “I thought it was a rather undignified thing to call the monster, but once it stuck, it stuck,” Barker told Grantland.

In 2015, Barker published a sequel to The Hellbound Heart, The Scarlet Gospels, which features Pinhead getting annoyed when people call him that—as well as Pinhead’s demise. “He will not be coming back, by the way," Barker said. "That I promise you."

11. A HELLRAISER VS. HALLOWEEN MOVIE ALMOST HAPPENED.

In an interview with Game Radar, Bradley said the success of Freddy vs. Jason led Hellraiser distributor Dimension Films to flirt with a Hellraiser vs. Halloween film. “I was actually getting excited by the prospect of this because Clive said he would write it and John Carpenter said he would direct it,” Bradley said. “I actually spoke to Clive about it a couple of times and he was interested in finding the places where the Halloween and Hellraiser worlds intermeshed.” But Moustapha Akkad, who owned the rights to Halloween, extinguished the idea.

12. THE BRITISH BOARD OF FILM CLASSIFICATION HAD TO CHECK THAT NO RATS WERE HARMED IN THE MAKING OF THE MOVIE.

While the MPAA requested that a spanking scene be cut for its American release, England's BBFC agreed to release the movie as it was, if they were assured that the rats used in the film weren’t hurt. “I had to bring three remote-control rats into the censor’s office and make them wriggle about on the floor,” producer Christopher Figg told The Telegraph. “They wanted to be sure we hadn’t been cruel to them.”

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