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Tiffany Doggett
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"Pennsatucky" redirects here. For the slang term, see Pennsyltucky.
Tiffany Doggett
Orange Is the New Black character
Taryn Manning as Tiffany Doggett
First appearance
"The Chickening"
Season 1, episode 5
July 11, 2013
Portrayed by
Taryn Manning
Oona Laurence (at age 10)
Information
Aliases
Pennsatucky
Occupation
Laundry (former), van driver (former), builder (present)
Significant other(s)
Nathan
Arlan
Charlie Coates (Correctional Officer)
Parents
Debbie Doggett (mother)
Tiffany "Pennsatucky" Doggett is a fictional character in the Netflix series Orange Is the New Black, portrayed by Taryn Manning. Manning was offered the role without needing to audition. The character of Doggett is based on a real life prisoner; a "young woman from western Pennsylvania who proudly called herself a redneck". She is originally from Waynesboro, Virginia. Prior to her imprisonment, she is shown to be exchanging sexual favors for soda or money. Doggett is also known to have had five abortions. She is charged with shooting an abortion doctor and decides to hire a Christian lawyer; the ensuing support she receives from Christian groups leads to Doggett's becoming a born-again Christian.
Doggett makes her first appearance in Season 1, episode 5 and is initially is the main antagonist but becomes a protagonist in later seasons. In her debut episode, she unsuccessfully attempts to hang up a cross in the prison chapel and expresses homophobic views. She conflicts with Alex Vause and Piper Chapman throughout the first season. In the second season, Doggett's storyline revolves around her friendships with Sam Healy and Carrie "Big Boo" Black. This friendship with Big Boo continues into the third season. Big Boo comforts Doggett when the latter is feeling remorse for her abortions and when she is raped by a correctional officer. The character Doggett has received mixed reviews from critics, though Manning's performance has received positive feedback.
Contents
[hide]
1 Creation and casting
2 Fictional background
3 Storylines
3.1 Season 1
3.2 Season 2
3.3 Season 3
3.4 Season 4
4 Critical commentary
5 See also
6 References
Creation and casting[edit]
Tiffany Doggett's nickname "Pennsatucky" is derived from Pennsyltucky; a slang term for the rural portions of Pennsylvania. The author, Piper Kerman, of the book, Orange Is the New Black: My Year in a Women's Prison, which inspired Orange is the New Black describes the real life version of Pennsatucky as "a young woman from western Pennsylvania who proudly called herself a redneck". Kerman further describes her as someone addicted to crack cocaine and dealing with the loss of custody of her child.[1]
Taryn Manning, already an established actress, did not have to audition for the role of Doggett and was offered it.[2] Manning, when speaking about this to Joshua Rotter of Download.com, said that she immediately accepted the offer "I loved it and didn't need to look any further. I was sold."[3] To prepare for the role, Manning did some research on faith healing and evangelistic ceremonies.[4] She also states that her inspiration for Doggett at least partly comes from the White family in the 2009 documentary film The Wild and Wonderful Whites of West Virginia.[5] The only make-up that Manning wears for her role as Doggett, in the first season, is on her teeth to create the effect of receding gums and missing teeth.[4][6][7] From the second season onwards, however, Doggett has false teeth in place and so the teeth seen are Manning's own.[1][5]
Fictional background[edit]
Doggett is from Waynesboro, Virginia.[1][8] After Doggett has her first period, her mother gives her advice about sex: "go on and let them [referring to men] do their business." This leads to her, later in life, to have sex with men in exchange for soda or money.[9][10][11] Her perspective of sex changes when she meets Nathan. Jonathon Dornbush, of Entertainment Weekly writes "[Nathan] wants them both to enjoy the experience [of sex], and it opens Tiffany's perception of relationships."[9] Nathan and his family move away, causing their relationship to end, and, almost immediately afterwards, Doggett is raped by an ex-boyfriend.[9][11]
Doggett has had five abortions. After having her fifth abortion, which takes place at an abortion clinic in Fishersville, Virginia,[1] the nurse remarks "we should give you a punch card, get the sixth one free."[12] Doggett is so offended by this joke that she shoots the nurse with a shotgun.[13][14] She agrees to have a Christian lawyer as it was likely to lead to a lighter sentence and her legal bills being paid for. Since she shot an abortion nurse, she became a 'hero' of the pro-life movement.[13][14] Doggett regularly receives cards praising her for her claims of defending the unborn as well as generous cash donations to her commissary account by fans & supporters. Although her Christian faith was initially fake, at some point Doggett did become a Christian; this was confirmed by Manning in an interview.[12][15] Manning describes Doggett's faith as "a hybrid of Christianity, Baptism, Presbyterian".[7]
Storylines[edit]
Season 1[edit]
Doggett first appears in the fifth episode. She wishes to hang up a cross in Litchfield Penitentiary's chapel but is refused permission. She ignores this and hangs her cross up on a light fixture; this causes the entire fixture to fall down and hence damages the chapel's ceiling.[16][17] She also displays transphobia; calling the transgender woman Sophia Burset (played by Laverne Cox) an 'abomination' and 'it' and blaming her for the damage to the chapel.[18] Doggett has numerous clashes with Alex Vause (played by Laura Prepon); firstly Vause threatens to rape Doggett after growing tired of her complaining about Piper Chapman (played by Taylor Schilling);[19][20] Doggett locks Vause in a dryer while she is helping Chapman to fix it and,[21] lastly, Doggett snitches on Chapman and Vause for dancing provocatively with each other; resulting in Chapman being placed in solitary confinement.[22]
Chapman and Vause get revenge on Doggett and trick her into believing that she has faith healing powers, eventually culminating in her being sent to the psychiatric ward.[23] Although Chapman aids in Doggett's release from the psychiatric ward,[13] Doggett still bears a grudge against her.[24] Doggett's lawyer encourages her to evangelize to Chapman instead and this leads to Chapman 'converting' but then refusing to be baptized. Doggett sees this as disrespectful and expresses a wish to kill Chapman.[14] The two have a confrontation at the end of the season's final episode. Doggett attacks Chapman with a shiv made from a wooden cross; Chapman throws Doggett to the ground and hits her repeatedly.[25]
Season 2[edit]
It is revealed in the third episode that Suzanne Warren (played by Uzo Aduba) is also involved in the fight at the end of season one. She punches Chapman in the face twice and knocks her unconscious (Doggett is already unconscious at this stage).[26][27] This gives the impression that Doggett and Chapman were evenly matched and therefore equally responsible.[27][28] Following Doggett's return to full health, she finds that her previous best friends, Leanne Taylor (played by Emma Myles) and Angie Rice (played by Julie Lake), no longer want to be associated with her. This leaves Doggett seeking prison counsellor Sam Healy (played by Michael J. Harney) for comfort.[29][30]
DeLaria's character "Big Boo" starts a friendship with Doggett in Season 2 which develops further in Season 3.
Following her friendships with Taylor and Rice continuing to deteriorate, Doggett forms friendships with Healy and Carrie "Big Boo" Black (played by Lea DeLaria). Healy and Doggett unite to form "Safe Place", a therapy group where prisoners can share their feelings in a confidential and supportive environment.[31][32] "Safe Place" is short-lived, however, and Healy decides to cancel the group indefinitely after Doggett fails to attend one of the sessions; when he investigates her reason for non-attendance, he finds her getting a hair cut from Burset.[33] Doggett initially talks to Big Boo, an openly lesbian inmate, during a blackout in the prison as she believes that there is a secret 'gay agenda' and she believes that Big Boo will give her the answers that she is seeking.[34] Doggett's physical appearance also changes in this season; she has white false teeth, neater hair and her skin looks smoother.[1]
Season 3[edit]
In the first episode, Big Boo and Doggett's friendship continues to develop. Seeing that Doggett bears strong feelings of guilt relating to the six abortions that she has had, Big Boo makes reference to the book Freakonomics, which suggests that crime rates in the 1990s fell because of Roe v. Wade.[35][36] Following Lorna Morello (played by Yael Stone) being relieved of her duty of driving the prison van, the role is given to Doggett.[37] She comes into contact with one of the new correctional officers called Charlie Coates (played by James McMenamin). Coates is initially friendly towards Doggett.[38] Despite relationships between prison staff and prisoners being forbidden, Coates kisses Doggett, against her will, after feeding some ducks.[39] Following another outing, Coates gets in trouble with his boss Joe Caputo (played by Nick Sandow) for being late for count and is placed on probation.[9] Doggett apologises for having caused him trouble, and he rapes her in the back of the prison van.[40]
When Big Boo learns of the rape, she encourages Doggett to take revenge on Coates by making him unconscious and then raping him with a broomstick. Whilst they successfully drug Coates, neither of them are willing to violate him with the broomstick.[38][39] In order to end contact with Coates, Doggett fakes a seizure on her next outing with him and is declared unfit for driving a van.[41] She is replaced as prison van driver by another inmate, Maritza Ramos (played by Diane Guerrero).[42]
Season 4[edit]
Coates approaches Doggett in the fourth episode of season 4; Doggett responds in a manner that shows clearly that she is still affected by the rape. This is also the first time that Doggett openly refers to the incident as a 'rape'. Coates is seen to be visibly distressed by this.[43][44] Towards the middle of the season, it is shown that Coates finally apologizes to Doggett and she, clearly surprised and relieved, forgives him and goes on to tell Big Boo about what happened.[45] Big Boo, still furious about the rape, refuses to accept Doggett's decision, straining their friendship.[46] In the twelfth episode of the season, Doggett explains to Big Boo the reasons why she decided to forgive Coates; "Pain is always there... but suffering is a choice".[47] The two resume their friendship following this.[48]
In "Toast Can Never Be Bread Again", as Doggett and Big Boo are assigned to cover the cafeteria following the death of Poussey Washington (played by Samira Wiley), Coates is also there to watch over the body. Coates then tells Doggett that he needs to quit because he hates how awful the prison is becoming. She tells him she does not want him to go, since they are on good terms, and she likes talking to him, despite what happened.[49] She kisses him and Coates makes it clear that he wants to go further than this but chooses not to, reasoning "I don’t want to ruin where we are now".[50]
Critical commentary[edit]
Doggett was widely perceived to have been the series' main antagonist in its first season.[12][35][51] She was seen to be homophobic and racist; one Cosmopolitan critic described her as 'vile'.[52][53] A critic for TV Insider described the first season Doggett as "terrifying, manipulative and so entirely unlikable" but also "hypnotic to watch".[35] Horatia Harrod's review in the Daily Telegraph described Manning's portrayal of Doggett as "brilliantly unhinged".[54] Other critics have praised the character, especially in the final episode of season one; calling her "fantastic", a "solid character" and "one of the best characters on the show".[55][56] Some also felt that Manning's performance was worthy of an Emmy nomination.[57][58]
Manning was described by critic Horatia Harrod as "brilliantly unhinged" in her portrayal of Doggett.[54]
Following the release of the first season of Orange is the New Black, Doggett received some criticism from different media. Writing for The American Conservative, B. D. McClay claimed that Doggett was a poor and inaccurate representation of American Christians; "Pennsatucky is such an aggressively terrible character" and "her faith is neither well-understood nor well-drawn".[12] Laura Leonard of Christianity Today, supports Clay's view and goes further to say "it was frustrating to see this one painful narrative represent Christian faith on OITNB, a show that masters other aspects of the melting pot so well", speaking about Doggett's background story and conflict with Chapman.[59] Two critics for The A.V. Club also gave negative reviews of Doggett; Todd VanDerWerff says that "Pennsatucky never really comes together as a character in the same way as some of the others on the show" and Myles McNutt opted to criticize the storyline of the final episode of the first season specifically, saying that it "[treats] her like a cartoon villain instead of a real character".[60][61] Betsy Leondar-Wright accused the series' creators of classism and said that Doggett was an "outrageous Redneck stereotype".[62]
Doggett's rape storyline in the third season garnered much reaction, both positive and negative. Jada Yuan of Vulture described the rape scenes (both the one in the flashback and the one involving correctional officer Coates) as "heartbreaking" and praised episode director Jesse Peretz's decision to keep the camera focused on Manning during the scenes.[38] Megan Vick praised the 'transformation' of the character of Doggett, calling it "the season’s breakout storyline and performance".[63] McNutt, who had been critical of Doggett in the first season, spoke positively about the rape storyline.[10]
Marissa Higgins, writing for xoJane, contended that the show "didn't accomplish anything with their portrayal of sexual assault" and said that she disliked the way that the story ended with Doggett effectively quitting her job as van driver in order to avoid further contact with Coates.[64] Emma Eisenberg, of Salon, criticized the scenes depicting Doggett growing up in Waynesboro as being "riddled with excessive Appalachian clichés". She went further by calling Doggett's mother unrealistic in her attitude towards sex: "the mothers I met [near Waynesboro] wanted their daughters to understand sex and to make informed choices". Eisenberg claimed that, therefore, Doggett's mother's speech about sex − "it’s like a bee sting, in and out, over before you knew it was happening" − was not representative of people in Waynesboro at that time.[1] Chloe Stillwell completely disagreed with Eisenberg and insisted that the character of Doggett was realistic: "Eisenberg's argument completely misses the point that perhaps the show is trying to be as real as possible, and acknowledging that there are real life Pennsatuckies in this world isn't to disenfranchise Appalachia."[65]
See also[edit]
List of Orange Is the New Black characters
References[edit]
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Hotel California
From Wikipedia, the free encyclopedia
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This article is about the song. For the Eagles album of the same name, see Hotel California (Eagles album). For other uses, see Hotel California (disambiguation).
"Hotel California"
Side A of the U.S. single
Single by Eagles
from the album Hotel California
B-side
"Pretty Maids All in a Row"
Released
February 1977
Format
7-inch single
Recorded
1976
Genre
Soft rock[1]
Length
6:30
Label
Asylum
Songwriter(s)
Don Felder, Don Henley, Glenn Frey
Producer(s)
Bill Szymczyk
Eagles singles chronology
"New Kid in Town"
(1976) "Hotel California"
(1977) "Life in the Fast Lane"
(1977)
Audio sample
Eagles – "Hotel California"
file
help
"Hotel California" is the title track from the Eagles' album of the same name and was released as a single in February 1977.[2] Writing credits for the song are shared by Don Felder (music), Don Henley, and Glenn Frey (lyrics). The Eagles' original recording of the song features Henley singing the lead vocals and concludes with an extended section of electric guitar interplay between Felder and Joe Walsh.
The song is considered the most famous recording by the band, and its long guitar coda has been voted the best guitar solo of all time by readers of Guitarist in 1998.[3][4] The song was awarded the Grammy Award for Record of the Year in 1978.[5] The lyrics of the song have been given various interpretations by fans and critics alike, the Eagles themselves described the song as their "interpretation of the high life in Los Angeles".[6] In the 2013 documentary History of the Eagles, Henley said that the song was about "a journey from innocence to experience... that's all..."[7]
Since its release, "Hotel California" has been covered by a number of artists and has become a part of international popular culture. Julia Phillips proposed adapting the song into a film, but the members of the Eagles disliked the idea and it never came to fruition. Commercially, "Hotel California" reached the number one position on the Billboard Hot 100 and reached the top ten of several international charts.
Contents
1 History
1.1 Composition
1.2 Recordings
1.3 Chart performance
1.4 Accolades
2 Themes and interpretations
2.1 Conjectures
3 Harmonic structure
4 Cover versions, samples and parodies
5 Cultural influence
6 Proposed film adaptation
7 Personnel
8 Charts and certifications
8.1 Weekly charts
8.2 Year-end charts
8.3 Certifications
9 References
10 External links
History
Composition
Don Felder composed the melody for "Hotel California."
Glenn Frey provided the outline of "Hotel California."
Don Henley wrote the lyrics to "Hotel California" with Frey.
The melody of the song was composed by Don Felder in a rented house on Malibu Beach. He recorded the basic tracks with a Rhythm Ace drum machine and added a 12 string guitar on a four-track recording deck in his spare bedroom, then mixed in a bassline, and gave Don Henley and Glenn Frey each a copy of the recording.[8] Felder, who met the Eagles through his high school bandmate Bernie Leadon, said that Leadon advised him to make tapes of songs he wrote for the band so that other band members like Henley, whose forte is in writing lyrics, might work with him on finishing the songs they like.[9] The demos he made were always instrumental, and on every album project he would submit 15 or 16 ideas. The demo he made for "Hotel California" showed influences from Latin and reggae music, and it grabbed the attention of Henley who said he liked the song that "sounds like a Mexican reggae or Bolero",[9] which gave the song its first working title, "Mexican Reggae".[10]
Frey and Henley were both interested in the tune after hearing the demo, and discussed the concept for the lyrics. In 2008, Felder described the writing of the lyrics:
Don Henley and Glenn wrote most of the words. All of us kind of drove into L.A. at night. Nobody was from California, and if you drive into L.A. at night... you can just see this glow on the horizon of lights, and the images that start running through your head of Hollywood and all the dreams that you have, and so it was kind of about that... what we started writing the song about.[11]
Henley decided on the theme of "Hotel California", noting how The Beverly Hills Hotel had become a literal and symbolic focal point of their lives at that time.[12] Henley said of their personal and professional experience in LA: "We were getting an extensive education, in life, in love, in business. Beverly Hills was still a mythical place to us. In that sense it became something of a symbol, and the 'Hotel' the locus of all that LA had come to mean for us. In a sentence, I'd sum it up as the end of the innocence, round one."[13]
Frey came up with a cinematic scenario of a person who, tired from driving a long distance in a desert, saw a place for a rest and pulled in for the night, but entered "a weird world peopled by freaky characters", and became "quickly spooked by the claustrophobic feeling of being caught in a disturbing web from which he may never escape."[8] In an interview with Cameron Crowe, Frey said that he and Henley wanted the song "to open like an episode of the Twilight Zone", and added: "We take this guy and make him like a character in The Magus, where every time he walks through a door there’s a new version of reality. We wanted to write a song just like it was a movie."[12] Frey described the song in an interview with NBC's Bob Costas as a cinematic montage "just one shot to the next ... a picture of a guy on the highway, a picture of the hotel, the guy walks in, the door opens, strange people." Frey continued: "We decided to create something strange, just to see if we could do it."[3][14] Henley then wrote most of the lyrics based on Frey's idea, and sought inspiration for the writing by driving out into the desert as well as from films and theater.[12]
Part of the lyrics, such as "Her mind is Tiffany twisted, she got the Mercedes bends / She got a lot of pretty pretty boys she calls friends", are based on Henley's break-up with his girlfriend Loree Rodkin.[8][13] According to Glenn Frey's liner notes for The Very Best Of, the use of the word "steely" in the lyric, "They stab it with their steely knives, but they just can't kill the beast," was a playful nod to the band Steely Dan, who had included the lyric "Turn up the Eagles, the neighbors are listening" in their song "Everything You Did".[15] Frey had also said that the writing of the song was inspired by the boldness of Steely Dan's lyrics and its willingness to go "out there",[12] and thought that the song they wrote had "achieved perfect ambiguity."[14]
Recordings
The Eagles recorded the track with Don Henley on lead vocal three different times, twice at the Record Plant in Los Angeles and finally at the Criteria Studios in Miami.[3][16] They first recorded a riff, but when it came to recording the vocal, it was found to be in too high a key for Henley's voice, so Felder progressively lowered the key from E minor, eventually settling on B minor. The second recording however was judged too fast.[3] In Miami, the band fine-tuned the instrumentation and the lyrics and recorded numerous takes. Five or six best ones were selected, and the best parts were then spliced together to create the released version. According to the producer Bill Szymczyk, there were 33 edits on the two‑inch master.[16] The final section features a guitar battle between Joe Walsh (who had replaced Bernie Leadon after Leadon's departure from the band in 1975) and Felder, which took the two of them sitting together working for around three days to achieve the necessary precision.[8] Walsh and Felder initially started improvising but Henley insisted that the recording should follow the music as first recorded in Felder's demo.[9]
Henley decided that the song should be a single, although Felder had doubts and the record company was reluctant to release it because, at over six minutes, its duration far exceeded that of the songs generally played by radio stations.[9][17] The band took a stand and refused the label's request to shorten the song.[18] The song was released as the second single from the album after "New Kid in Town". The front cover art for some overseas editions of the 45rpm single released was a reworked version of the Hotel California LP cover art, which used a photograph of the Beverly Hills Hotel by David Alexander, with design and art direction by Kosh.[19]
The Eagles performing "Hotel California" in Australia during their Long Road Out of Eden Tour
As "Hotel California" became one of the group's most popular songs and a concert staple for the band,[20] live recordings of the song have therefore also been released. The first live recording of the song appeared on the Eagles' 1980 live album, and an acoustic version with an extended intro is a track in the 1994 Hell Freezes Over reunion concert CD and video release.[21] The Hell Freezes Over version is performed using eight guitars and has a decidedly Spanish sound, with Don Felder's flamenco-inspired arrangement and intro.[22]
Chart performance
"Hotel California" first entered the Billboard Hot 100 on chart dated February 26, 1977,[23] and topped the Hot 100 singles chart for one week in May 1977,[24] the band's fourth song to reach No. 1 on that chart.[5] It peaked at number 10 on the Easy Listening chart in April 1977.[25] Billboard ranked it number 19 on its 1977 Pop Singles year-end chart.[26] Three months after its first release, the single was certified Gold by the Recording Industry Association of America (RIAA), representing one million copies shipped. In 2009, the song was further certified Platinum (Digital Sales Award) by the RIAA for sales of one million digital downloads,[27] and has since sold over 3 million downloads.[28]
Accolades
The Eagles won the 1977 Grammy Award for Record of the Year for "Hotel California" at the 20th Grammy Awards in 1978.[29]
The song is rated highly in many rock music lists and polls; Rolling Stone magazine ranked it number 49 on its list of "The 500 Greatest Songs of All Time".[30] It was named one of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll.[31] At the induction of the Eagles into the Rock and Roll Hall of Fame in 1998, all seven former and present members of the band reunited to perform "Hotel California".[32]
The song's guitar solo was voted the best solo of all time by readers of Guitarist magazine in 1998,[4] and was ranked 8th on Guitar Magazine's Top 100 Guitar Solos.[33] The song was also included in the music video game Guitar Hero World Tour. It was ranked the number 1 in the list of the best 12-string guitar songs of all times by Guitar World magazine in 2015.[34]
Themes and interpretations
Don Henley has given a number of explanations about the song, ranging from "a journey from innocence to experience"[7] to "a sociopolitical statement".[35] In an interview with Rolling Stone, Henley said that the song was meant to be "more of a symbolic piece about America in general", and added: "Lyrically, the song deals with traditional or classical themes of conflict: darkness and light, good and evil, youth and age, the spiritual versus the secular. I guess you could say it's a song about loss of innocence."[8]
The song has been described as being "all about American decadence and burnout, too much money, corruption, drugs and arrogance; too little humility and heart."[8] It has also been interpreted as an allegory about hedonism, self-destruction, and greed in the music industry of the late 1970s.[36] Don Henley called it "our interpretation of the high life in Los Angeles",[37] and later said: "It's basically a song about the dark underbelly of the American dream and about excess in America, which is something we knew a lot about."[38] In the 2013 documentary, History of the Eagles, Henley reiterated:
On just about every album we made, there was some kind of commentary on the music business, and on American culture in general. The hotel itself could be taken as a metaphor not only for the myth-making of Southern California, but for the myth-making that is the American Dream, because it is a fine line between the American Dream, and the American nightmare.[39]
In a 2009 interview, The Plain Dealer music critic John Soeder asked Don Henley if he regretted writing the lines "So I called up the captain / 'Please bring me my wine' / He said, 'We haven't had that spirit here since 1969'" because wines are fermented while spirits are distilled. Henley responded:
Thanks for the tutorial and, no, you're not the first to bring this to my attention — and you're not the first to completely misinterpret the lyric and miss the metaphor. Believe me, I've consumed enough alcoholic beverages in my time to know how they are made and what the proper nomenclature is. But that line in the song has little or nothing to do with alcoholic beverages. It's a sociopolitical statement. My only regret would be having to explain it in detail to you, which would defeat the purpose of using literary devices in songwriting and lower the discussion to some silly and irrelevant argument about chemical processes.[35]
In his Encyclopedia of Great Popular Song Recordings, Volume 1, Steve Sullivan theorizes that the "spirit" that the Hotel California hasn't had since 1969 refers to the spirit of social activism of the 1960s, and how disco and the related pop music of the mid-1970s had turned away from it.[8]
Conjectures
The metaphorical character of the story related in the lyrics has inspired a number of conjectural interpretations by listeners. In the 1980s some Christian evangelists alleged that "Hotel California" referred to a San Francisco hotel that was purchased by Anton LaVey and converted into his Church of Satan.[40][41] Other rumors suggested that the Hotel California was the Camarillo State Mental Hospital.[42]
The term "colitas" in the first stanza ("warm smell of colitas, rising up through the air") has been interpreted as a sexual slang or a reference to marijuana.[43] "Colitas" means "little tails" in Spanish; in Mexican slang it refers to buds of the cannabis (marijuana) plant.[44][45] According to Glenn Frey, the "warm smell" is "colitas...it means little tails, the very top of the plant."[46] The Eagles' manager Irving Azoff appears to lend support to the marijuana hypothesis,[47] however, Felder said: "The colitas is a plant that grows in the desert that blooms at night, and it has this kind of pungent, almost funky smell. Don Henley came up with a lot of the lyrics for that song, and he came up with colitas."[43]
Other interpretations of the songs include heroin addiction and cannibalism.[3] On the various interpretations, Henley said: "Some of the wilder interpretations of that song have been amazing. It was really about the excesses of American culture and certain girls we knew. But it was also about the uneasy balance between art and commerce."[43]
Harmonic structure
The intro and verse's chord pattern counts eight measures, each one assigned to a single chord. Seven different chords are used in the eight measures. As the song opens, it is not until the eighth measure that a chord is repeated. The song is initially in the key of B-minor.[48] The presence of E major gives a hint of B Dorian.
The chords are played as follows:
Bm–F♯–A–E–G–D–Em–F♯
or
i–V–VII–IV–VI–III–iv–V
The eight measure sequence is repeated in the intro, for each verse and in the outro, providing the harmonic framework for the entire extended dual guitar solo at the end of the song.[48] One explanation of the progression is that it is a common flamenco chord progression called the "Spanish progression" (i–VII–VI–V in a phrygian context) that is interspersed with consecutive fifths.[48] With its descending ostinato pattern, it could be considered a fandango, a forerunner of the Baroque chaconne form.[49]
This chord sequence is not commonly used, and Ian Anderson of Jethro Tull has pointed out its similarity to his song "We Used to Know" from their 1969 album Stand Up, suggesting the Eagles heard it when they toured together.[50] While the Eagles did open for Jethro Tull in June 1972, Don Felder, who wrote the music, did not join the band until 1974 and would not have been in the audience or backstage.[51] Felder has said that he had never heard "We Used to Know", and that he was unfamiliar with Jethro Tull apart from the fact the frontman plays a flute.[52]
The chorus, or refrain, uses five of the song's seven chords, structured with the melody in a way that shifts the key from B-minor to its relative major of D:[48]
G–D–F♯–Bm–G–D–Em–F♯
or assuming a key of D:
IV–I–ii–vi–IV–I–ii–III
Cover versions, samples and parodies
Al B. Sure! recorded his rendition for his album, Private Times...and the Whole 9! (1990).[53] Gipsy Kings recorded a flamenco version sung in Spanish,[54] which was used in the soundtrack for the film The Big Lebowski.[55] The Orb, under the name of Jam On The Mutha produced a version which charted at No. 62 on the UK chart in 1990.[56][57] Mike Piranha recorded "Hotel Honolulu" in 1998, satirizing overdevelopment, crime, and other issues on Oahu, which became a local hit in Hawaii.[58] The Romanian band Vama Veche recorded its version with different lyrics entitled "Hotel Cişmigiu", sung in its native language.[59] Alabama 3 covered the song for the album, La Peste (2000).[60] Nancy Sinatra recorded a cover version for her 2002 album California Girl, an album of songs about California.[61] The Cat Empire recorded a version sung in French entitled "L'hotel de Californie" for Triple J's Like a Version segment, and is included in its 2005 compilation album as well as the band's 2003 live album On the Attack.[62] The Killers and Rhythms del Mundo collaborated their version with Afro-Cuban music for the 2009 Artists' Project Earth charity, and it appeared on the album Rhythms del Mundo Classics.[63]
Frank Ocean released a song that samples the entire instrumental track of "Hotel California" on his mixtape Nostalgia, Ultra (2011), entitled "American Wedding".[64] It led to a threatened lawsuit from Don Henley for copyright infringement.[65]
Cultural influence
"Hotel California" and its lyrics have become absorbed into the wider culture around the world, and have been used by various writers and commentators to reflect on issues ranging from politics to social media and welfare,[66][67][68] or as an observation on a particular situation.[69][70] The lines "We are programmed to receive / You can check out any time you like / But you can never leave!" were used by an economist to refer to how the appeal of an attractive "Hotel California"-type host country to foreign investors may be countered by the cost of exit on leaving the country.[71] A term "The Hotel California Effect" was then used to refer to the negative effect of financial regulations on investment,[72] and the problems foreign investors faced when getting their money out of China.[73][74] It has also applied to other ideas such as leaving a service provider or social media network.[75][76] A book titled Operation Hotel California: The Clandestine War Inside Iraq was written about the clandestine operation named after the song title by CIA–US Special Forces teams in Iraqi Kurdistan in the lead-up to the Iraq War.[77][78]
Although the Eagles were noted for their reluctance to license their songs for use in shows,[79] the song had been used in a number of films and television shows, such as The Big Lebowski (performed by the Gipsy Kings),[55] Absolutely Fabulous, and The Sopranos.[43] Most recently it was used during the final scenes of the premiere episode of American Horror Story: Hotel in October 2015.[80]
Proposed film adaptation
According to Rolling Stone, Julia Phillips, the producer of films like Taxi Driver and Close Encounters of the Third Kind, was interested in shooting a movie based on the song's story. The band members and Phillips met to discuss the project. In her memoir You'll Never Eat Lunch in This Town Again, Phillips wrote that the band members were difficult to deal with and arrogant. Henley said that Phillips offered the band members cocaine and was "nonplussed" when they turned it down. Tension between the two parties ended the pre-development deal for the film. Rolling Stone reported that the band was not upset at this development, as they were not particularly enamored with the idea of "Hotel California" being adapted into a film. This was because Henley feared that he would lack control over the project.[81]
Personnel
Don Felder – 12- and 6-string electric guitars, backing vocals
Don Henley – lead and backing vocals, drums, percussion
Glenn Frey – 12-string acoustic guitar, backing vocals
Joe Walsh – electric guitar, backing vocals
Randy Meisner – bass, backing vocals
Charts and certifications
Weekly charts
Chart (1977)
Peak
position
Austria (Ö3 Austria Top 40)[82] 13
Belgium (Ultratop 50 Flanders)[83] 24
Canada Top Singles (RPM)[84] 1
Canada Adult Contemporary (RPM)[85] 2
France (SNEP)[86] 2
Germany (Official German Charts)[87] 6
Netherlands (Single Top 100)[88] 6
New Zealand (Recorded Music NZ)[89] 5
Norway (VG-lista)[90] 5
Spain (AFE)[91] 3
Switzerland (Schweizer Hitparade)[92] 2
UK Singles (Official Charts Company)[93] 8
US Billboard Hot 100[94] 1
US Adult Contemporary (Billboard)[95] 10
Year-end charts
Chart (1977)
Peak
position
Canada Top 200 singles (RPM)[96] 8
US Billboard Hot 100[26] 19
Certifications
Region
Certification
Certified units/Sales
Italy (FIMI)[97]
Digital download
Platinum 30,000
United Kingdom (BPI)[98]
Silver 250,000^
United States (RIAA)[99]
Physical single
Gold 1,000,000^
United States (RIAA)[99]
Digital download
Platinum 3,000,000[28]
^shipments figures based on certification alone
sales+streaming figures based on certification alone
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Jump up ^ "Ian Anderson of Jethro Tull". Song Facts.
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Jump up ^ Feenstra, Pete (September 2012). "Interview: Don Felder". Get Ready to Rock. hotdigitsnewmedia group. Retrieved May 5, 2015.
Jump up ^ Blues & Soul (1990)
Jump up ^ Rock the Nation: Latin/o Identities and the Latin Rock Diaspora by Roberto Avant-Mier, p. 167.
^ Jump up to: a b "The Definitive Guide To The Music of The Big Lebowski". LA Weekly. March 7, 2013.
Jump up ^ "Jam on the Muth". Official Charts Company.
Jump up ^ Thomas H Green (April 26, 2007). "The song that won't check out". Daily Telegraph.
Jump up ^ "Livin' it up with a parody of paradise: Mike Piranha's 'Hotel Honolulu' gets airplay and guffaws". Honolulu Star-Bulletin. June 8, 1998. Retrieved August 20, 2015.
Jump up ^ "HOTEL CIŞMIGIU la 100 de ani: reînvierea uneia dintre cele mai frumoase clădiri istorice" (April 9, 2012), Gandul (in Romanian)
Jump up ^ CMJ New Music Monthly (January 2001), p. 54.
Jump up ^ Stephen Thomas Erlewine. "Nancy Sinatra California Girl". AllMusic. Rovi Corporation. Retrieved August 29, 2017.
Jump up ^ Air Owens (December 24, 2015). "Five Best Covers of Hotel California". Popcorn. Archived from the original on August 7, 2016.
Jump up ^ "The Killers – Hotel California" (December 2, 2009), The Telegraph.
Jump up ^ "R&B Resurgence". Billboard. April 2–9, 2011. p. 31.
Jump up ^ Marc Schneider (June 4, 2014). "Don Henley Slams 'Arrogant' Frank Ocean for Using 'Hotel' Music". Billboard.
Jump up ^ Mark Hendrickson (February 3, 2015). "The EU's Nightmare In The 'Hotel California'". Forbes.
Jump up ^ Victor Pineiro (April 17, 2015). "Navigating the 'Hotel California' effect of social platforms". Digiday.
Jump up ^ Jan C. Van Ours (2006). "Leaving 'Hotel California': How Incentives Affect Flows of Benefit Recipients in the Netherlands". Vierteljahrshefte zur Wirtschaftsforschung. 75 (3, S): 186–207.
Jump up ^ Mark Fineman (August 11, 1992). "States – Foreign Relations – Iraq Troops Check Out 'Hotel California' : Persian Gulf: West Coast Marines wait nervously in Kuwaiti desert camp as tension rises between U.S., Iraq". Los Angeles Times.
Jump up ^ Maria Aspan (February 11, 2008). "On Facebook, leaving is hard to do". The New York Times.
Jump up ^ Holger Görgh (2003). "Fancy a stay at the "Hotel California"? Foreign direct investment, taxation and exit costs" (PDF).
Jump up ^ Todd Malan (November 23, 2006). "Time to change rules at Hotel California". Financial Times.
Jump up ^ "China Joint Ventures And The Hotel California Effect". Alibaba. May 22, 2013.
Jump up ^ "China and the Hotel California Effect in Banking". China Economics Blog. 5 January 2009.
Jump up ^ Larry Walsh Cloud Computing (15 October 2015). "Walmart disrupts 'Hotel California effect' in cloud". Channelonmics.
Jump up ^ Victor Pineiro (December 16, 2015). "Five Social Trends Marketers Won't Be Able to Ignore in 2016". Advertising Age.
Jump up ^ Matt P. "Operation Hotel California: The Clandestine War Inside Iraq" (PDF). CIA.
Jump up ^ Deanne Stillman (August 23, 2014). Some Dance to Remember, Some Dance to Forget: A Few Thoughts on Iraq, "Hotel California," and Coming Home. Los Angeles Review of Books.
Jump up ^ Ben Kayeon (September 14, 2014). "David Letterman punks The Eagles over licensing their music – watch". Consequence of Sound.
Jump up ^ Allison Piwowarski (October 8, 2015). "Is 'AHS: Hotel' Based On "Hotel California"? The Eagles Song Is Filled With Clues". Bustle.
Jump up ^ "The Eagles' 'Hotel California': 10 Things You Didn't Know". Rolling Stone. Retrieved 2016-12-11.
Jump up ^ "Austriancharts.at – Eagles – Hotel California" (in German). Ö3 Austria Top 40.
Jump up ^ "Ultratop.be – Eagles – Hotel California" (in Dutch). Ultratop 50.
Jump up ^ "Top RPM Singles: Issue 5268a." RPM. Library and Archives Canada.
Jump up ^ "Top RPM Adult Contemporary: Issue 4362." RPM. Library and Archives Canada.
Jump up ^ "Lescharts.com – Eagles – Hotel California" (in French). Les classement single.
Jump up ^ "Offiziellecharts.de – Eagles – Hotel California". GfK Entertainment Charts.
Jump up ^ "Dutchcharts.nl – Eagles – Hotel California" (in Dutch). Single Top 100.
Jump up ^ "Charts.nz – Eagles – Hotel California". Top 40 Singles.
Jump up ^ "Norwegiancharts.com – Eagles – Hotel California". VG-lista.
Jump up ^ Salaverri, Fernando (September 2005). Sólo éxitos: año a año, 1959-2002 (1st ed.). Spain: Fundación Autor-SGAE. ISBN 84-8048-639-2.
Jump up ^ "Swisscharts.com – Eagles – Hotel California". Swiss Singles Chart.
Jump up ^ "Eagles: Artist Chart History". Official Charts Company.
Jump up ^ "Eagles Chart History (Hot 100)". Billboard.
Jump up ^ "Eagles Chart History (Adult Contemporary)". Billboard.
Jump up ^ "Top 200 Singles of '77". December 31, 1977.
Jump up ^ "Italian single certifications – Eagles – Hotel California" (in Italian). Federazione Industria Musicale Italiana. Retrieved October 3, 2016.
Jump up ^ "British single certifications – Eagles – Hotel California". British Phonographic Industry. Retrieved November 14, 2013. Select singles in the Format field. Select Silver in the Certification field. Enter Hotel California in the search field and then press Enter.
^ Jump up to: a b "American single certifications – Eagles – Hotel California". Recording Industry Association of America. Retrieved May 2, 2013. If necessary, click Advanced, then click Format, then select Single, then click SEARCH
External links
Lyrics of this song at MetroLyrics
Classic Tracks: The Eagles 'Hotel California'
show
v
t
e
Eagles
Don Henley
Timothy B. Schmit
Joe Walsh
Glenn Frey
Bernie Leadon
Randy Meisner
Don Felder
Studio albums
Eagles
Desperado
On the Border
One of These Nights
Hotel California
The Long Run
Long Road Out of Eden
Compilation albums
Their Greatest Hits (1971–1975)
Eagles Greatest Hits, Vol. 2
The Very Best of the Eagles
Selected Works: 1972–1999
The Very Best Of
Eagles
Live releases
Eagles Live
Hell Freezes Over
Farewell 1 Tour: Live from Melbourne
Singles
"Take It Easy"
"Witchy Woman"
"Peaceful Easy Feeling"
"Tequila Sunrise"
"Outlaw Man"
"Already Gone"
"James Dean"
"Best of My Love"
"One of These Nights"
"Lyin' Eyes"
"Take It to the Limit"
"New Kid in Town"
"Hotel California"
"Life in the Fast Lane"
"Please Come Home for Christmas"
"Heartache Tonight"
"The Long Run"
"I Can't Tell You Why"
"Seven Bridges Road"
"Get Over It"
"Love Will Keep Us Alive"
"Hole in the World"
"How Long"
"Busy Being Fabulous"
Other songs
"Desperado"
"Ol' '55"
"The Last Resort"
"In the City"
Tours
Long Road Out of Eden Tour
History of the Eagles Tour
Related
Discography
Poco
Linda Ronstadt
Flying Burrito Brothers
Common Thread: The Songs of the Eagles
History of the Eagles
Heaven and Hell: My Life in the Eagles (1974–2001)
Book
Category
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Grammy Award for Record of the Year
1959−1980
"Nel Blu Dipinto Di Blu (Volare)" by Domenico Modugno (1959)
"Mack the Knife" by Bobby Darin (1960)
"Theme from A Summer Place" by Percy Faith (1961)
"Moon River" by Henry Mancini (1962)
"I Left My Heart in San Francisco" by Tony Bennett (1963)
"Days of Wine and Roses" by Henry Mancini (1964)
"The Girl from Ipanema" by Astrud Gilberto & Stan Getz (1965)
"A Taste of Honey" by Herb Alpert and the Tijuana Brass (1966)
"Strangers in the Night" by Frank Sinatra (1967)
"Up, Up and Away" by The 5th Dimension (Billy Davis Jr., Florence LaRue, Marilyn McCoo, Lamont McLemore, Ron Townson) (1968)
"Mrs. Robinson" by Simon & Garfunkel (Art Garfunkel, Paul Simon) (1969)
"Aquarius/Let the Sunshine In" by The 5th Dimension (Billy Davis Jr., Florence LaRue, Marilyn McCoo, Lamont McLemore, Ron Townson) (1970)
"Bridge over Troubled Water" by Simon & Garfunkel (Art Garfunkel, Paul Simon) (1971)
"It's Too Late" by Carole King (1972)
"The First Time Ever I Saw Your Face" by Roberta Flack (1973)
"Killing Me Softly with His Song" by Roberta Flack (1974)
"I Honestly Love You" by Olivia Newton-John (1975)
"Love Will Keep Us Together" by Captain & Tennille (Daryl Dragon, Toni Tennille) (1976)
"This Masquerade" by George Benson (1977)
"Hotel California" by Eagles (Don Felder, Glenn Frey, Don Henley, Randy Meisner, Joe Walsh) (1978)
"Just the Way You Are" by Billy Joel (1979)
"What a Fool Believes" by The Doobie Brothers (Jeffrey Baxter, John Hartman, Keith Knudsen, Michael McDonald, Tiran Porter, Patrick Simmons) (1980)
1981−2000
"Sailing" by Christopher Cross (1981)
"Bette Davis Eyes" by Kim Carnes (1982)
"Rosanna" by Toto (Bobby Kimball, Steve Lukather, David Paich, Jeff Porcaro, David Hungate, Steve Porcaro) (1983)
"Beat It" by Michael Jackson (1984)
"What's Love Got to Do with It" by Tina Turner (1985)
"We Are the World" by USA for Africa (1986)
"Higher Love" by Steve Winwood (1987)
"Graceland" by Paul Simon (1988)
"Don't Worry, Be Happy" by Bobby McFerrin (1989)
"Wind Beneath My Wings" by Bette Midler (1990)
"Another Day in Paradise" by Phil Collins (1991)
"Unforgettable" by Natalie Cole with Nat King Cole (1992)
"Tears in Heaven" by Eric Clapton (1993)
"I Will Always Love You" by Whitney Houston (1994)
"All I Wanna Do" by Sheryl Crow (1995)
"Kiss from a Rose" by Seal (1996)
"Change the World" by Eric Clapton (1997)
"Sunny Came Home" by Shawn Colvin (1998)
"My Heart Will Go On" by Celine Dion (1999)
"Smooth" by Santana (Rodney Holmes, Tony Lindsay, Karl Perazzo, Raul Rekow, Benny Rietveld, Carlos Santana, Chester Thompson) featuring Rob Thomas (2000)
2001−present
"Beautiful Day" by U2 (Bono, Adam Clayton, The Edge, Larry Mullen Jr.) (2001)
"Walk On" by U2 (Bono, Adam Clayton, The Edge, Larry Mullen Jr.) (2002)
"Don't Know Why" by Norah Jones (2003)
"Clocks" by Coldplay (Guy Berryman, Jon Buckland, Will Champion, Phil Harvey, Chris Martin) (2004)
"Here We Go Again" by Ray Charles and Norah Jones (2005)
"Boulevard of Broken Dreams" by Green Day (Billie Joe Armstrong, Mike Dirnt, Frank Edwin Wright III) (2006)
"Not Ready to Make Nice" by Dixie Chicks (Martie Maguire, Natalie Maines, Emily Robison) (2007)
"Rehab" by Amy Winehouse (2008)
"Please Read the Letter" by Alison Krauss and Robert Plant (2009)
"Use Somebody" by Kings of Leon (Caleb Followill, Jared Followill, Matthew Followill, Nathan Followill) (2010)
"Need You Now" by Lady Antebellum (Hillary Scott, Charles Kelley, Dave Haywood) (2011)
"Rolling in the Deep" by Adele (2012)
"Somebody That I Used to Know" by Gotye featuring Kimbra (2013)
"Get Lucky" by Daft Punk featuring Pharrell Williams & Nile Rodgers (2014)
"Stay with Me" (Darkchild version) by Sam Smith (2015)
"Uptown Funk" by Mark Ronson featuring Bruno Mars (2016)
"Hello" by Adele (2017)
"24K Magic" by Bruno Mars (2018)
Retrieved from "https://en.wikipedia.org/w/index.php?title=Hotel_California&oldid=853148220"
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