Taiwanese animation

# Taiwanese animation

## Abstract

Taiwanese animation or Taiwanese donghua can be traced back to 1954's black-and-white animation Wu Song Fights the Tiger (武松打虎) by the Kuei Brothers but the earliest surviving is The Race Between Turtle and Rabbit (龜兔賽跑) produced at the end of the 1960s by the Kuangchi Program Service and was also the first color animation in Taiwan. In the 1970s, Taiwanese animators went abroad to study the animation production techniques in the United States and Japan, opening up Taiwan's OEM animation and homemade industry.

## 1950s and 1960s

In the 1950s and 1960s, Taiwanese leisure activities were primarily watching film, television, folk opera and glove puppetry. Although American cartoons were broadcast in Taiwan, it was generally perceived to be detrimental to students' studies and increased risk of dropping out, however there were already some Taiwanese experimenting with making short length animations. In 1961, Fr. Philip L. Bourett, S.J. (卜立輝神父) founded the Kuangchi Program Service (KPS) and began the development of Taiwan's multimedia industry by purchasing used animation equipment from the United States, this could be considered the formal beginnings of Taiwanese animation.

In 1963, Fr. Bourret recommended Linus Zao (趙澤修 Chao Tse-hsiu / Zhao Zexiu) to be trained in animation at Disney in Hollywood. Linus had previously worked at Toei Animation from 1959. Upon Linus's return to Taiwan in 1965, the animation department at KPS was established. The first production was Uncle Stone's Letter (石頭伯的信) in 1968 followed by The Tortoise and the Hare in 1969. This won him a Golden Horse Award and he was given the honorary title of "Father of Taiwanese Animation" and the nickname "Taiwan's Walt Disney " In 1970, due to financial factors, the animation department was shut down and Linus left KPS. He went on to found his very own animation studio, Linus Art Studio (澤修美術製作所), and continued to produce commercials and social education films, this was one of Taiwan's early institutions specializing in cultivating animation talent, but all operations ceased after Linus moved to Hawaii in 1971 to take up a position at the University of Hawaii where he taught and worked as a freelance painter until 2003.

## 1970s

Japanese animation developed at a rapid pace between 1962 and 1970, so much so that Toei in Japan built a new film factory specifically for TV animation. With such rapid development gave rise to the problem of increased production costs so Japanese companies looked overseas to foreign animation companies to take over production work.

In 1970, Ying Jen Cartoon Production Center (影人卡通製作中心) was set up, consisting of twelve animators. Japanese animators Kusube Daikichirou (楠部大吉郎), Tsutomu Shibayama, and Otsuka Yasuo went to Taipei to work with Ying Jen, who were in charge of subcontracting Japanese animation, while the original art were all drawn by the Japanese original artists. All tools such as rulers, pens, and celluloid were strictly imported from Japan. Animations such as Star of the Giants and The Oriental Witches (東洋の魔女) were produced by Ying Jen Cartoons. However, after a little over a year, the Republic of China and Japan severed diplomatic relations, in addition, the salary of an animation artist at the time was not sufficient to live on (One animation page was worth three NTD), hence Ying Jen declared its dissolution.

In 1971, Teng You-li (鄧有立), who would later be named in 1975 as one of the Republic of China Ten Outstanding Young Persons (中華民國十大傑出青年), hired several animation artists from Ying Jen and founded Chinese Cartoon Production. But Teng decided to go a different route than Ying Jen by making homemade animation. In 1972, New Journey to the West (新西遊記), an experimental film directed by Chu Ming-tsan (朱明燦) was released and reported about by TTV, CTV and other cable television networks and print media. The news reached the ear of South Sea Film & Co (香港南海影業公司) director Chang Ying (張英), who discussed working with Chinese Cartoon Production and decided to fund the making of the animated film Creation of the Gods.

When making Creation of the Gods (封神榜), Chinese Cartoon Production were still in the stages of exploring screenwriting and character design. Although they invited Hong Kong screenwriter San Gong-seh (申江寫) to write the script, San wrote plays for movies and did not understand the nature of animation, the script become too large. Although they seized the opportunity of Bruce Lee 's passing by adding wuxia and kung fu elements, the box office performance was not good. Fred Tan (但漢章 Tan Han-chung) once critiqued: "Children don't understand it and adults aren't willing to watch it."「小孩子看不懂、大人不願意看。」

In 1979, Tsai Ming-chin (蔡明欽) served as one of the directors for the Chinese Cartoon Production and Toei collaboration animated film Romance of the Three Kingdoms. The film won the award for Best Cartoon at the 1980 Golden Horse Film Festival and Awards but performed poorly at the box office. There were no computer special effects at the time and it was quite a feat to animate the large scale battle scenes.

In 1974, Linus Zao's protégé Huang Mu-tsun (黃木村 Huang Mucun) founded China Youth Animation Development Company (中國青年動畫開發公司), abbreviated to Chung Ching (中青 Zhongqing), which mainly produced animated social education works. In 1977, Before It Rains (未雨綢繆) whose theme is family planning, won the 14th Golden Horse Award for Best Cartoon, which was the first ever awarded to an animated film.

In 1974, Tsai Chih-chung (蔡志忠) directed the animated title sequence for the TV series, The Stupid Son-in-law (傻女婿), this was the first in Taiwan.

## 1980s

In 1978, James Wang who had returned to Taiwan after studying abroad in the United States, founded Wang Film Productions, which focused on accepting outsourced orders from American production companies such as Hanna-Barbera and Disney. Through its use of American corporate management methods and hiring of concept artists at high prices, it became the world's largest subcontracted animation production center in the world by export volume; at the same time it killed off smaller animation companies that could not compete. Wang Film Productions and Ying Jen had deeply influenced Taiwanese animation though the introduction of American and Japanese animation respectively.

Original animation in the 1970s mostly derived from adaptations of traditional Chinese stories, however in the 1980s Taiwanese animation turned to adapting best-selling manhua, an example is Far East Cartoon 's adaptation of the Hong Kong comic directed by Joseph Wong Chak and 謝金塗 (Che Gam-Tiu/Tse Cham To/Hsieh Chin-tu) called Old Master Q. It was adapted from the four panel style comic and in addition to its funny plots, it incorporated showdown duels of Bruce Lee, the blind swordsman (Zatoichi), and Ore wa Teppei. It was a big success at the box office in both Hong Kong and Taiwan with turnover in excess of 100 million NTD. It won the Best Cartoon award at the 18th Golden Horse Awards in 1981.

In 1983, Far East Cartoon adapted Ao You-hsiang's (敖幼祥) four panel comic Messy Temple (烏龍院) for the big screen and directed by Tsai Chih-chung. But due to quality issues by its partner company, the finished work was very flawed and compounded by the lack of introducing fresh new story plots, it did not perform well at the box office and subsequently the popularity of manhua adaptations quickly faded. Wang Film Productions's adaptation of Brother Ox Cartoons' (牛哥漫畫) Uncle Niou's Great Adventure (牛伯伯牛小妹大破鑽石黨), directed by Yu Wei-cheng (余為政), was the last of the wave in popularity of manhua adaptation. It was not shown on the big screen.

Unlike adapting traditional stories, there were problems of character design when adapting manhua. Often audience would lose interest if the character design differed too much from the original or if there is a change in style of drawing. Funding and scripts were also problems that plagued Taiwanese animation. In 1983, although Uncle Ox (牛伯伯) was nominated for a Golden Horse award in 1981, the last best cartoon award went to Bremen 4: Angels in Hell (四神奇 Japanese: ブレーメン4 地獄の中の天使たち) produced by Tai Wei Cartoon (泰威公司) in collaboration with Osamu Tezuka. This also led to the decline in homemade Taiwanese animation.

After the mid-1980s, Taiwan's animation industry largely depended upon American subcontracting to support it. Initially, TV animation was undertaken then gradually Disney animated films. At this time Taiwan's subcontracted animation industry had surprisingly matured: by 1987, when Wang Film Productions opened a new building, they were producing as many as 170 to 190 works yearly and hired over one hundred concept artists. Due to its staggering output and efficiency, Wang Film Productions was nicknamed the "Magic Cuckoo's Nest" by Hollywood.

Although Taiwan's subcontracted animation industry underwent amazing development, this was a time when much of American and Japanese subcontracted animations were rapidly dumped back in Taiwan. Foreign animation eroded the original animation market so much so that there was hardly any homemade animations on any television channels in Taiwan.

Non-celluloid animations include Cheng Chen-yi's (張振益) Impression from My Childhood (兒時印象) in 1985 and the clay animation Cat Hiding (躲貓貓) in 1987. There is also Broadcast Development Foundation's (廣電基金會) Grandfather's Stories (阿公講古) and Li Han-wen's (李漢文) and David Tao Sr. 's (陶大偉) collaborative paper carving animation work The Adventures of Little Calabash (小葫蘆歷險記). However, these animations were not combined with any business models.

## 1990s

In the early 1990s, Taiwan's economy picked up, the New Taiwan Dollar was gaining value and wages were on the rise, these factors steadily increased production costs of the subcontract industry. To reduce costs, animation subcontract factories were set up and relocated to mainland China and Southeast Asia. In 1989, Sam Wang (王亞泉)/Wang Yaquan founded Morning Sun Animation (朝陽動畫), the first Taiwanese animation company founded on the mainland.

As the subcontract industry relocated abroad, Taiwan's animation industry gradually geared towards creativity and research and development to survive. In the 1990s, the information bureau used funds to subsidize several feature-length animation works, including Far East's Tsai Chih-chung's original work Zen Taipei Ah-Kuan (禪說阿寬) directed by You Jing-Yuan (游景源). Animation and coloring were produced on the mainland while directing, original concept and editing were all produced in Taiwan, although its box office performance did not fair too well, videotape sales did, and it won the Special Jury Award (金馬獎評審特別獎) at the 31st Golden Horse award.

In 1998, Grandma and Her Ghosts (魔法阿媽), directed by Wang Hsiao-ti (王小棣) and with South Korean collaboration, used the theme of Taiwanese local customs and folk beliefs which resonated with the Taiwanese community and was recognized for Best Film at the 1st Taipei Film Festival, but because the Gold Horse Award judges deemed the film's plot to be outlandish, the film missed out on Best animated film award at the 35th Gold Horse Award.

Also in 1998, Kang Chin-Ho (康進和) directed Kavalan (少年噶瑪蘭), funded by PTS and filmed by Wang Film Productions, the theme is an aborigine tale handed down in the Kabalan Plain, describing the protagonist transcending space and time to return to the plain in olden times. The art design was not bad but due to a lack of understanding of Taiwanese aborigine culture, the animation was not well valued by the aborigines.

Apart from homemade films, Taiwanese animation also sought collaboration with other countries. In 1994, in preparation for public broadcast, NHK and South Korea's KBS funded the production of Confucius (孔子傳), but due to a decree and various factors, it was not shown in the cinemas; In 1995, Lin Cheng-te's manhua Young Guns was adapted and made into two sets of OVAs using the methods from their collaboration with the Japanese, and sold pretty well in retail market.

In 1995, the feature-length American 3D animation Toy Story had a great impact on the animation industry. At the same time Taiwan's 3D animation short The Sky of Little-Sun (小陽光的天空) directed by Cheng Fen-Fen (鄭芬芬) and produced by the Sunshine Social Welfare Foundation had just been completed, the story follows the story between an ordinary girl and girl with burns; at this time Wang Film Productions also entered into the 3D animation subcontracting industry.

## 2000s

The wave of digitization was sweeping the world and animation was no exception. Globalization and creativity became increasingly important to animation production. In view of the success of South Korea's government subsidized internet gaming and digital animation industries, the Taiwanese government set up the Digital Content Institute (數位內容學院) in 2003 to encourage the development of Taiwan's digital gaming and animation industries.

In 1989, Chen Keng-pin (陳耿彬), the original artist of Far East Cartoon's Old Master Q, set up David Images Company (大衛數位藝術公司) and introduced a full set of American 3D equipment and produced Taiwan's first 3D animation commercial Kolin thousand dollar ant transformer (歌林千元變身螞蟻), Tatung Space Baby (大同太空寶寶篇), etc., and cooperated with film director Ting Shan-hsi (丁善璽) in 1993 to produce Taiwan's first action film with 3D CGI, The Magic Sword (將邪神劍) and marked the beginning of Taiwan's 3D animation.

Towards the end of the 1990s, Spring House Entertainment Technology (春水堂科技) produced an online animation titled A-Kuei (阿貴) which was very successful. In 2002 it was adapted into the feature-length animation A-Kuei's Gonna Hammer You (阿貴槌你喔), which was the first digital animation to receive government subsidy and the first Flash animation to appear on the big screen. Other notable digital animations are Butterfly Lovers: Liang Shanbo and Zhu Yingtai (蝴蝶夢-梁山伯與祝英台) in 2003 and Wang Film Productions 's Fire Ball (紅孩兒：決戰火焰山) in 2005, both combining traditional Chinese fables with 3D animation.

Animation in the 2000s, aside from simple productions, also needed to solve the problems of script writing, marketing, and globalization, which can't be solved just by training animation artists. As a result, several animation companies actively sought international collaboration, to absorb the internationally successful business model and seize the opportunity for expansion.

"Huei Yu? (no English equivalent)" (會宇多媒體股份有限公司) produced The Kids' Ten Commandments (兒童十誡) targeted at the European and North American market in collaboration with Mondo Media. In 2004, the TV animation Pandamonium was broadcast in Taiwan, Japan, Chinese mainland, Europe, United States, South Korea, etc. They also experimented with selling merchandise through trade partnership with companies in other industries to increase revenue. In summer of 2007, Matsu: Legend of the Sea (海之傳說－媽祖) was produced by Chinese Cartoon Production (中華卡通) in collaboration with Dajia Jenn Lann Temple to release merchandise and do publicity. In this way, the business model of Taiwanese model gradually matured.

In 2007, early 2D subcontract factory Far Eastern Cartoons (遠東卡通公司) last owned by Kao Chin-yuan (高錦源) was not operating too well and the decision was made to quit the subcontracting business and set up a new company using the old name Far Eastern (遠東) but adding on Animation Tech (動畫科技). Far Eastern Animation Tech set up an office in Beijing which focused on a new development angle between multimedia businesses and animation production. This was also the first instance of a Taiwanese animation company officially collaborating with a Chinese mainland company, the Beijing-based Songlei Culture Group (松雷文化集團) whose office operations focused on the creation and production of original animation, cellphone and digital content and established a flagship store for Creative Culture Products (文化創意商品) at the Forbidden City in Beijing. This collaboration allowed the support and exchanges with mainland China's official institution on copyright trading, Beijing Film Academy and Bright China Foundation (光華基金會).

In 2009, the 44th Golden Bell Awards introduced the Best Animation Programme category which has been awarded every year since.

## 2010s

With the rise of digital media after 2010, 3D animation, visual effects, and digital media were being promoted as universities set up relevant departments to cultivate new talent. Students who studied abroad return with new concepts and technologies, start up their own animation studios. By converging digital technology with international standards and through interaction and sharing of experiences over the web, a fresh atmosphere has been injected into a new generation. Some independent studios began to actively invest in developing homemade animation.

In recent years, particularly Venerable Jian-Zhen (鑑真大和尚) in 2010, Memory Loss (憶世界大冒險) in 2011, Silent Code (BBS鄉民的正義) in 2012, Mida (夢見), A Little Bird (我是隻小小鳥) in 2013, Barion (重甲機神 Baryon) in 2016, one by one Taiwanese animation are being created for the cinema and appears to be on a slow but gradual reemergence possibly one day joining American and Japanese animation to be enjoyed around the world.

## Directors

The following are well known animation directors who produced feature-length animated films and animated television programs since the 1990s.

- Wang Ya-chuan (王亞泉 Wang Yaquan)

- Wang Hsiao-ti (王小棣 Wang Xiaodi)

- Shih Chang-chieh (石昌杰 Shi Changjie)

- Lin Po-liang (林博良 Lin Boliang)

- Wang Tung (王童 Wang Tong)

- Chiu Li-wei (邱立偉 Qiu Liwei)

- Yang Shao-chang (楊紹昌 Yang Shaochang)

- Wang Shih-wei (王世偉 Wang Shiwei)

- Tsai Ming-chin (蔡明欽 Cai Mingqin)

- Bunny Lin (林世仁 Lin Shih-jen / Lin Shiren)

- Chu Chi (朱騏 Zhu Qi)

- Jerry Lee (李春永 Lee Chun-yung / Li Chunyong)

- Oscar Lin (林明杰 Lin Ming-chieh / Lin Mingjie)

- Tsai Chih-chung (蔡志忠 Cai Zhizhong)

- Chi Po-chou (紀柏舟Ji Bozhou)

- Tsai Jhih-wei (蔡至維 Cai Zhiwei)

- Chiu Yi-hsun (邱奕勳 Qiu Yixun): Magical Painting (神畫)


List of socialist states

# List of socialist states

## Abstract

Several past and present states have declared themselves socialist states or in the process of building socialism. The majority of self-declared socialist countries have been Marxist–Leninist or inspired by it, following the model of the Soviet Union or some form of people's or national democracy. They share a common definition of socialism, and they refer to themselves as socialist states on the road to communism with a leading vanguard party structure, hence they are often called communist states. Meanwhile, the countries in the non-Marxist–Leninist category represent a wide variety of different interpretations of the term socialism, and in many cases the countries do not define what they mean by it. Modern uses of the term socialism are wide in meaning and interpretation.

Because a sovereign state is a different entity from the political party that governs that state at any given time, a country may be ruled by a socialist party without the country itself claiming to be socialist or the socialist party being written into the constitution. This has occurred in both one-party and multi-party political systems. In particular, there are numerous cases of social democratic and democratic socialist parties winning elections in liberal democratic states and ruling for a number of terms until a different party wins the elections. While socialist parties have won many elections around the world and most elections in the Nordic countries, none of those countries have adopted socialism as a state ideology or written the party into the constitution.

Several countries with liberal democratic constitutions mention socialism. India is a democracy that has been governed by non-socialist parties on many occasions, but its constitution makes references to socialism. Certain other countries, such as Hungary, Myanmar, and Poland have constitutions that make references to their communist and socialist past by recognizing or condemning it, but without claiming to be socialist in the present.

## Overview

Self-identification is the only criterion used by the list, therefore it includes all countries that have claimed to be socialist, even if their claims are disputed. All countries that have not claimed to be socialist are excluded, even in cases where certain outside observers regarded those countries as socialist. Mao Zedong and the Communist Party of China considered the Taiping Heavenly Kingdom to be a proto-communist state, although the kingdom never declared itself socialist, hence it is not included on this list. The list includes countries that assert in their constitutions that they are based on socialism, regardless of their economic or political system. It does not list countries that do not have constitutional references to socialism as socialist states, even in cases where the government is currently run by a socialist party or other left-wing (centre-left and far-left) parties. Inversely, countries that do maintain constitutional references to socialism are listed, even when those countries are governed by non-socialist parties. The list is best understood as a list of countries that explicitly claim to be socialist, and it does not reflect the actual economic systems themselves.

- Over 70 years

- 60–70 years

- 50–60 years

- 40–50 years

- 30–40 years

- 20–30 years

- 10–20 years

- Under 10 years

## Current self-declared socialist states

### Non-Marxist–Leninist states

#### Socialist territories with limited recognition

These are territories that have claimed independence or autonomy and have declared themselves socialist under some interpretation of the term. While these territories have created stable institutions of governance that have existed for a considerable period of time, they are not widely recognized as states by the international community and officially belong to other sovereign states under international law.

## Former self-declared socialist states

### Ephemeral socialist states and polities

These are short-lived political entities that emerged during wars, revolutions, or unrest and declared themselves socialist under some interpretation of the term, but which did not survive long enough to create a stable government or achieve international recognition.

- Lyon Commune (4 September 1870 – 28 September 1870; 22 March 1871 – 25 March 1871)

- Paris Commune (18 March 1871 – 28 May 1871)

- Committee of Public Health (8 July 1873 – 13 July 1873)

- Canton of Cartagena (12 July 1873 – 12 January 1874)

- Republic of Guria (May 1902 – 10 January 1906)

- Strandzha Commune (18 August 1903 – 8 September 1903)

- Markovo Republic (31 October 1905 – 18 July 1906)

- Stary Buyan Republic (12 November 1905 – 26 November 1905)

- Chita Republic (22 November 1905 – 22 January 1906)

- Novorossiysk Republic (12 December 1905 – 25 December 1905)

- Shuliavka Republic (12 December 1905 – 16 December 1906)

- Comrat Republic (6 January 1906 – 12 January 1906)

- Ukrainian People's Republic (1917–1921)

- Harbin Soviet (September 1917 – December 1918)

- Executive Committee of the Soviet of Workers, Soldiers, and the Landless in Latvia (21 November 1917 – 3 March 1918)

- Crimean People's Republic (1917–1918)

- Soviet Republic of Soldiers and Fortress-Builders of Naissaar (December 1917 – February 1918)

- Belarusian People's Republic (1918–1919)

- West Ukrainian People's Republic (1918–1919)

- Finnish Socialist Workers' Republic (28 January 1918 – 29 April 1918)

- Odessa Soviet Republic (31 January 1918 – 13 March 1918)

- Donetsk–Krivoy Rog Soviet Republic (12 February 1918 – May 1918)

- Baku Commune (13 April 1918 – 25 July 1918)

- Transcaucasian Democratic Federative Republic (22 April 1918 – 28 May 1918)

- Democratic Republic of Georgia (May 1918 – February 1921)

- Constitution Protection Region of Southern Fujian (1 September 1918 – 12 August 1920)

- Banat Republic (31 October 1918 – 20 February 1919)

- Republic of Tarnobrzeg (6 November 1918 – Spring 1919)

- People's State of Bavaria (8 November 1918 – 6 April 1919)

- Free Socialist Republic of Germany (9 November 1918 – 11 August 1919)

- Mainz Workers' and Soldiers' Council (9 November 1918 – 9 December 1918)

- Alsace-Lorraine Soviet Republic (10 November 1918 – 22 November 1918)

- Soviet Republic of Saxony (13 November 1918 – 11 May 1919)

- Commune of the Working People of Estonia (29 November 1918 – 5 June 1919)

- Latvian Socialist Soviet Republic (17 December 1918 – 13 January 1920)

- Hungarian People's Republic (16 November 1918 – 21 March 1919)

- Makhnovshchina (27 November 1918 – 28 August 1921)

- Würzburg Soviet Republic (7 April 1919 – 9 April 1919)

- Bremen Soviet Republic (10 January 1919 – 4 February 1919)

- Lithuanian–Byelorussian Soviet Socialist Republic (27 February 1919 – 25 August 1919)

- Republic of Councils in Hungary (21 March 1919 – 6 August 1919)

- Mughan Soviet Republic (March 1919 – June 1919)

- Bavarian Soviet Republic (6 April 1919 – 3 May 1919)

- Limerick Soviet (14 April 1919 – 17 April 1919)

- Crimean Socialist Soviet Republic (28 April 1919 – 26 June 1919)

- Bessarabian Soviet Socialist Republic (May 1919 – September 1919; 15 September 1924 – 18 September 1924)

- Slovak Soviet Republic (16 June 1919 – 7 July 1919)

- Far Eastern Republic (6 April 1920 – 15 November 1922)

- Provisional People's Government of Mongolia (1921–1924)

- Persian Socialist Soviet Republic (9 June 1920 – September 1921)

- Galician Soviet Socialist Republic (8 July 1920 – 21 September 1920)

- Provisional Polish Revolutionary Committee (23 July 1920 – Late August 1920)

- Labin Republic (2 March 1921 – 8 April 1921)

- Serbian–Hungarian Baranya–Baja Republic (14 August 1921 – 20 August 1921)

- Soviet Zone (1927–1937) Hunan Soviet (September 1927 – October 1927) Guangzhou Soviet Government (12 December 1927 – 13 December 1927) Central Revolutionary Base Area (1931–1934)

- Hunan Soviet (September 1927 – October 1927)

- Guangzhou Soviet Government (12 December 1927 – 13 December 1927)

- Central Revolutionary Base Area (1931–1934)

- Korean People's Association in Manchuria (1929–1931)

- Nghệ-Tĩnh Soviet (1930–1931)

- Chinese Soviet Republic (7 November 1931 – 22 September 1937)

- Socialist Republic of Chile (4 June 1932 – 2 October 1932)

- People's Revolutionary Government of the Republic of China (22 November 1933 – 13 January 1934)

- Xinjiang Clique (1934–1941)

- Asturian Commune (October 1934)

- Regional Defence Council of Aragon (1936–1937)

- Revolutionary Catalonia (1936–1939)

- Sovereign Council of Asturias and León (6 September 1936 – 21 October 1937)

- Shaan-Gan-Ning Border Region (1937–1946)

- Finnish Democratic Republic (December 1939 – March 1940)

- Republic of Užice (28 July 1941 – 1 December 1941)

- Bihać Republic (4 November 1942 – 29 January 1943)

- Political Committee of National Liberation (10 March 1944 – 9 October 1944)

- East Turkestan Republic (12 November 1944 – 27 June 1946)

- Red Republic of Caulonia (6 March 1945 – 9 March 1945)

- Inner Mongolian People's Republic (9 September 1945 – 6 November 1945)

- People's Republic of Korea (1945–1946)

- Soviet Civil Administration (1945–1949)

- Liberated Zone (1946–1949)

- Azerbaijan People's Government (November 1945 – December 1946)

- Republic of Mahabad (22 January 1946 – 15 December 1946)

- Provisional People's Committee for North Korea (1946–1947)

- People's Committee of North Korea (1947–1948)

- Provisional Democratic Government (1947–1949)

- Marquetalia Republic (1948–1964)

- Government of the National Front of the Region of Madiun (18 September 1948 – 19 December 1948)

- People's Republic of Zanzibar (1964)

- Republic of South Vietnam (8 June 1969 – 2 June 1976)

- People's Provisional Government (1977–1979)

- Junta of National Reconstruction (18 July 1979 – 10 January 1985)

- Democratic People's Republic of Angola (1979 – 1992)

- National Revolutionary Council (30 July 1981 – 5 August 1981)

- Coalition Government of Democratic Kampuchea (22 June 1982 – 24 September 1993)

- National Council for the Revolution (1984–1987)

- Republic of Kuwait (4 August 1990 – 28 August 1990)

- Democratic Republic of Yemen (21 May 1994 – 7 July 1994)

- Provisional Government of National Union and National Salvation of Cambodia (11 July 1994 – 22 June 1998)

- Capitol Hill Autonomous Zone (8 June 2020 – 1 July 2020)

## Non-socialist states with governing socialist parties

There are multiple states with socialist parties leading the government, sometimes together. Such states are not considered to be communist or socialist states because the countries themselves do not provide a constitutional role for their ruling socialist/communist parties or deem socialism a state ideology. This does not include socialist parties following social democracy, which have governed most of the Western world, much of Latin America, and other regions as part of the mainstream centre-left.

Examples of previous direct communist or socialist party rule in non-socialist multi-party democracies include:

- Republic of San Marino (Sammarinese Communist Party, 1945–1957)

- Indonesia (Socialist Party, 1945–1948)

- Union of Burma (Anti-Fascist People's Freedom League, 1948–1962)

- Republic of Uganda (Uganda People's Congress, 1960–1971; 1980–1985)

- Islamic Republic of Pakistan (Pakistan Peoples Party, 1970–1977; 1988–1990; 1993–1996; 2008–2013)

- Democratic Republic of Timor-Leste (Revolutionary Front for an Independent East Timor, 1975; 2002–2006; 2007; 2015–2018)

- Republic of Senegal (Socialist Party of Senegal, 1975–2000)

- Republic of Vanuatu (Vanua'aku Pati, 1980–1994; 2009–2014)

- Burkina Faso (Organization for Popular Democracy – Labour Movement and Congress for Democracy and Progress, 1987–1996; 1996–2014)

- Republic of Tunisia (Democratic Constitutional Rally, 1988–2011, Nidaa Tounes 2014–2019)

- Union of Soviet Socialist Republics (Communist Party of the Soviet Union, 1990–1991)

- Federal Democratic Republic of Ethiopia (Ethiopian People's Revolutionary Democratic Front, 1991–2019)

- Republic of Seychelles (Seychelles People's Progressive Front, People's Party and United Seychelles, 1991–2009; 2009–2018; 2018–2020)

- Republic of Mali (Alliance for Democracy in Mali and Rally for Mali, 1992–2002; 2012–2013; 2013–2020)

- Federal Republic of Yugoslavia (Socialist Party of Serbia, 1992–2000)

- Republic of Chad (Chadian Action for Unity and Socialism, 1993)

- Kingdom of Nepal / Nepal / Federal Democratic Republic of Nepal (Communist Party of Nepal (Unified Marxist–Leninist), Unified Communist Party of Nepal (Maoist) and Nepal Communist Party, 1994–1998; 2008–2013; 2015–2017)

- Republic of Madagascar (Association for the Rebirth of Madagascar, 1997–2002)

- Russian Federation (Communist Party of the Russian Federation, 1998–1999)

- Republic of Moldova (Party of Communists of the Republic of Moldova, 2001–2009)

- Oriental Republic of Uruguay (Socialist Party of Uruguay, 2005–2010; 2015–2020 and Movement of Popular Participation 2010–2015)

- Republic of Sierra Leone (All People's Congress, 2007–2018)

- Republic of Cyprus (Progressive Party of Working People, 2008–2013)

- Republic of El Salvador (Farabundo Martí National Liberation Front, 2009–2019)

- Republic of Suriname (National Democratic Party, 2010–2020)

- Chile (Popular Unity, 1970–1973)

- Peru (Perú Libre, 2021–2022)


Independent Network News (TV program)

# Independent Network News (TV program)

## Abstract

The Independent Network News (INN) (later retitled INN: The Independent News and USA Tonight) was an American syndicated television news program that ran from June 9, 1980, to June 23, 1990. The program aired seven nights a week on various independent stations across the United States and was designed to serve those stations in the same manner that the " Big Three " network news programs – ABC World News Tonight, NBC Nightly News and the CBS Evening News – served their affiliates.

## History

The program debuted on June 9, 1980, under its original title Independent Network News. The newscast was a production of Tribune Broadcasting 's New York City station WPIX, and was distributed by Tribune's syndication division as one of the first programs that the company produced for the syndication market. As INN was produced at WPIX, that station's on-air news staff presided over the broadcast. The nightly broadcast was helmed by a three-anchor team consisting of Pat Harper, Bill Jorgensen, and Steve Bosh with Jerry Girard reporting on sports and Roberto Tirado providing national weather forecasts (Tirado would later be replaced by Bob Harris), and WPIX's local reporting staff was also utilized for the program. Saturday and Sunday editions of INN were added to the schedule in October 1980; these were initially anchored by Ted O'Brien.

INN also used reports from its member stations, the Associated Press, United Press International, Visnews, and later CNN to supplement its own coverage. WPIX transmitted the national show's live feed via satellite —initially via Westar 3 —at 9:30 p.m. Eastern Time each night. (Most stations that carried the program aired INN 30 minutes to one hour after the initial feed.) In the New York City area, WPIX paired a replay of the national INN broadcast at 10 p.m., with its own local newscast at 10:30, called the Action News Metropolitan Report. The newscast carried three minutes of national advertising and three minutes for local ads.

As part of a midday expansion of INN starting in 1981, WPIX also experimented with a half-hour midday newscast at 12:30 p.m. that was co-anchored by Marvin Scott and Claire Carter; this followed the national broadcast which aired at noon. During the decade, WPIX also offered the business-oriented news program The Wall Street Journal Report (which continues to air today in syndication and also airs on CNBC, albeit under the name of On the Money); and the Sunday newsmaker show From the Editor's Desk, hosted by Richard D. Heffner, to stations carrying INN.

Bill Jorgensen left the program (and WPIX) in 1983. Bosh and Harper continued to anchor together for another year until Bosh departed in 1984 to join KDFW-TV in Dallas. Brad Holbrook, who joined the operation a year earlier after anchoring at WNAC-TV / WNEV-TV in Boston, became co-anchor with Harper. Also in 1984, WPIX dropped its Action News branding for the station's local newscasts and decided to rebrand its 7:30 and 10:30 p.m. newscasts as INN: The Independent News. The midday newscast continued (now under the title of INN: Midday Edition) until the fall of 1985, when it was replaced by the lighter-toned Inday News, which focused upon consumer news and human interest stories. Donna Hanover, who was already anchoring the local 7:30 WPIX newscast, anchored this newscast alongside Brad Holbrook (Marvin Scott, meanwhile, was reassigned to anchor the weekend editions of the national broadcast), which was part of a syndicated block called Inday, a co-venture of Tribune, LBS Communications and Columbia Pictures Television, designed to provide stations with a two-hour block of news and "infotainment"; Inday was cancelled by 1986.

In January 1985, Tribune signed veteran CBS News correspondent Morton Dean to anchor both the national Independent News broadcast and the late WPIX newscast. Pat Harper would leave WPIX and INN later on in the spring of 1985, taking over as the 6 PM co-anchor at WNBC-TV; Sheila Stainback, formerly of WBAL-TV in Baltimore, was brought in to replace her alongside Dean. Harper's place on the 7:30 local broadcast was given to Donna Hanover, with Holbrook as co-anchor.

Beginning on January 12, 1987, the national INN newscast was renamed USA Tonight, keeping that name for the remainder of its run although the INN name and logo was still used in graphics. An increased focus was placed on features in the retitled program, and Dean began anchoring the program by himself. A year after the new format was implemented, Dean left Tribune for ABC News and a returning Brad Holbrook took the anchor position on weeknights. Stainback would eventually return as his co-anchor, with both of them continuing to anchor the local newscast that followed.

The weekend editions of USA Tonight were discontinued after Marvin Scott was reassignedto WPIX in 1989; he and Mary Garofalo were named anchors of WPIX's local newscast, which moved to 10 PM as the lead in for USA Tonight at 10:30. Holbrook remained as anchor of the national broadcast through all of this, while Stainback initially anchored alongside him before being moved to weekends.

By 1990, it was clear that Tribune's nationally syndicated newscast was not much longer for television. Far fewer stations had been airing USA Tonight as the 1980s advanced, with some choosing to focus on their own news divisions and others choosing to affiliate with either one of the major networks or the fledgling Fox network. With this in mind, Tribune Broadcasting entered into a collaborative agreement with CNN, which essentially made the then-six station Tribune group news affiliates of the then- Turner Broadcasting System cable channel. The final INN newscast aired on June 23, 1990; through its initial deal with CNN, Tribune retained some of the program's staff as Tribune Broadcasting's Washington, D.C. bureau. On March 13, 2009, Tribune Broadcasting officially closed the Washington bureau as an effect of the Great Recession and the sale of Tribune to Sam Zell afflicting the company with a heavy debt burden which required severe company cutbacks.

### Stations airing INN

When INN premiered, the program aired on Tribune's three television stations at the time—WPIX, WGN-TV in Chicago, and KWGN-TV in Denver —and 21 other outlets at launch, a number that rose from 24 stations to 41 before the end of 1980. By the start of 1983, INN was being aired by 78 stations.

Throughout its run, the program was also distributed nationally over the superstation feed of WGN-TV; the station had packaged Independent Network News as part of a hybrid local-national format it adopted for its late-evening newscast (which had moved up one hour to 9 p.m. on March 10, 1980) upon the program's debut, with INN occupying the second half-hour of the local broadcast. (WGN and other news-producing independents that aired the program like WPIX, KWGN-TV and KMSP-TV in Minneapolis–St. Paul, which were distributed as regional superstations in their respective regions of the U.S., expanded their prime time newscasts to one hour after Tribune discontinued production of USA Tonight.) INN, by then renamed USA Tonight, was also broadcast on The Learning Channel from September 1987 to June 1990.


Dragi Kaličanin

# Dragi Kaličanin

## Abstract

Dragi Kaličanin (Serbian Cyrillic: Драги Каличанин; born 28 October 1957) is a Serbian football manager and former player.

## Background and career

Born in Štavalj, Sjenica, in modern-day Serbia, he started and finished his playing career with FK Borac Čačak but his best years were spent while playing with Yugoslav First League giants FK Partizan and with Spanish La Liga club Real Zaragoza with whom he won the 1986 Copa del Rey. He also had short spells in Turkey and with another Yugoslav club, FK Priština.

## Honours

Partizan

- Yugoslav First League: 1982–83


Mask Singer (French TV series)

# Mask Singer (French TV series)

## Abstract

Mask Singer is a French reality television series based on the format of the South Korean television game show series King of Mask Singer by Munhwa Broadcasting Corporation. Run by TF1 Group, Mask Singer is a singing competition between celebrities donning elaborate costumes and face coverings to conceal their identity from the audience, judges and other contestants.

The first season of Mask Singer premiered 8 November 2019. Hosted by Camille Combal, it featured TV host and producer Alessandra Sublet, singer Anggun as well as humorists Kev Adams and Jarry on the judging panel. The second season commenced filming in 2020, and aired from 17 October to 28 November 2020 with the same host and panel. The third season started airing on April 1, 2022, featured the exact same host and panel, along with a surprise fifth judge, a new addition to the series. The fourth season started to air on August 23, 2022, on a weekly prime-time format. The fifth season began on April 14, 2023. The sixth season began on May 3, 2024.

## Format

A group of celebrities compete anonymously on stage, singing in full costumes over a series of episodes. Each episode, a portion of the competitors are paired off into face-off competitions, in which each will perform a song of his/her choice. From each face-off, the panelists and live audience vote: the winner's safe for the week, while the loser is put up for elimination. At the end of the episode, the face-off's losers are then subjected to new votes of the panelists to determine who will not continue. The eliminated singer then enters a special room backstage where it turns its back to the camera, takes off its mask, then turns around to reveal his/her identity to the viewers.

In addition to the singing competition, hints to each masked singer's identity are offered during the show. Pre-taped interviews are given as hints and feature their distorted voices. The panelists are given time to speculate the identity of the singer after the performance and ask them a single question to try and determine their identity.

## Panelists and host

Following the announcement of the series, TF1 announced that the judging panel for season 1 would consist of Radio & TV Host Alessandra Sublet, singer Anggun and comedians Kev Adams and Jarry. Said panel remained for seasons 2 and 3. On June 4, 2022, it was announced that three new panellists would join Kev Adams for the fourth season in replacement to Jarry, Alessandra Sublet and Anggun : ventriloquist and stand-up comedian Jeff Panacloc, actress and comedian Chantal Ladesou, and singer-songwriter Vitaa ; constitute the new panel of judges for season 4.

## Season synopsis

## Season 1 (2019)

### Contestants

### Episodes

#### Week 3 (22 November)

Two singers are to be eliminated this episode. Therefore, Sing-offs are canceled : Contestants sing only once before being subjected to the vote.

Group Number: " Uptown Funk " by Mark Ronson ft. Bruno Mars

#### Week 4 (29 November)

Two singers are to be eliminated this episode. Therefore, Sing-offs are canceled : Contestants sing only once before being subjected to the vote.

#### Week 5 (6 December)

Two singers are to be eliminated this episode. Therefore, Sing-offs are canceled : Contestants sing only once before being subjected to the vote.

#### Week 6 (13 December)

As only 4 characters are still in competition, run time allows for face-offs again. The 4th place was determined by a first round of duels then a face-off, while the top 3 was determined in a second round.

## Season 2 (2020)

### Contestants

### Episodes

#### Week 2 (24 October)

Guest Performance: " Million Reasons " by Lady Gaga performed by Itziar Ituño as "Ballerina."

#### Week 4 (7 November)

Panelist Performance: " Eye of the Tiger " by Survivor performed by Anggun as "Disco Ball."

#### Week 5 (21 November)

Group Number: "Allez reste" by Boulevard des Airs ft. Vianney

#### Week 6 (28 November)

##### Round One

For the first round the contestants did a duet with a previous contestant.

## Season 3 (2022)

### Contestants

### Episodes

#### Week 2 (8 April)

- Guest Performance: " Feeling Good " by Nina Simone performed by Teri Hatcher as Ladybug

#### Week 4 (22 April)

- Guest Performance: " Le Banana Split " by Lio performed by Anne Roumanoff as Gorilla

- Guest Performance: " Envole-moi " by Jean-Jacques Goldman performed by Jarry as Elephant

#### Week 5 (29 April)

- Group Performance: " Ça (C'est Vraiment Toi) " by Téléphone

- Guest Performance: " With or Without You " by U2 performed by Seal as Cowboy

#### Week 6 (6 May)

- Guest Performance: " Pauvres Diables " by Julio Iglesias performed by Kendji Girac as Wolf

#### Week 7 (13 May)

##### Round One

- For the first round the contestants did a duet with a previous contestant.

## Season 4 (2022)

### Episodes

#### Week 3 (6 September)

- Guest Performance: " My Way " by Frank Sinatra performed by David Hasselhoff as Cobra

#### Week 5 (20 September)

- Group Performance: "Quand la musique est bonne" by Jean-Jacques Goldman

- Guest Performance: " Let's Twist Again " by Chubby Checker performed by Francis Huster " as "Viking"

#### Week 6 (27 September)

- Guest Performance: " Price Tag " by Jessie J ft. B.o.B performed by Tori Spelling as Cat

#### Week 7 (4 October)

- Guest Performance: "La Boîte de jazz" by Michel Jonasz performed by Inès Reg as Tigress

#### Week 8 (11 October)

## Season 5 (2023)

### Episodes

#### Week 3 (28 April)

- Guest Performance: " Roar " by Katy Perry performed by Mel B as Sun

#### Week 4 (5 May)

- Guest Performance: "Attention Mesdames et Messieurs" by Michel Fugain performed by Laurent Ruquier as Lobster

#### Week 6 (19 May)

- Guest Performance: " Don't Let the Sun Go Down on Me " by Elton John performed by Anastacia as Kangaroo

#### Week 7 (26 May)

- Group Performance: " J'ai cherché " by Amir Haddad

- Guest Performance: " Grenade " by Bruno Mars performed by Anggun as Bull

#### Week 8 (2 June)

Guest Group Performance: "J'ai vu" by Niagara performed by Laurent Maistret as Knight, Keen'V as Elephant and Amaury Vassili as Turtle

## Season 6 (2024)

### Episodes

### Week 3 (17 May)

- Guest Performance: " Stand By Me " (Stand by Me) by Ben E. King performed by Gloria Gaynor as Ice Queen

#### Week 5 (31 May)

- Guest Performance: " S'il suffisait d'aimer " by Celine Dion performed by Shy'm as "Flake"

#### Week 6 (7 June)

- Guest Performance: " Houdini " by Dua Lipa performed by Natalie Imbruglia as "Joker"

#### Week 7 (15 June)

- Group Performance: "Le Bal masqué" by La Compagnie Créole

- Guest Performance: "Si J'étais un Homme" by Diane Tell performed by Vincent Desagnat as "Avatar"

#### Week 8 (22 June)

Guest Group Performance: "Respire Encore" by Clara Luciani performed by Vincent Niclo as Husky, Aurélie Konaté as Doe and Charlotte Gaccio as Jellyfish


Strike Like Lightning

# Strike Like Lightning

## Abstract

Strike Like Lightning is an album by the American musician Lonnie Mack, released in 1985. The working title was Return of the Flying V, after Mack's 1958 Gibson Flying V. Regarded as a comeback album, Strike Like Lightning was a commercial success.

## Production

Recorded in Austin, Texas, the album was coproduced by Stevie Ray Vaughan, who also played guitar on some of the songs. The recording sessions were delayed while Mack recovered from health issues. Tim Drummond played bass on the album; Stan Szelest played keyboards. "Double Whammy" is a takeoff on Mack's first hit, "Wham!" Vaughan played a National steel guitar on "Oreo Cookie Blues" and sang on "If You Have to Know". "Stop" is a reworked version of Mack's "Why".

## Critical reception

The Globe and Mail called the album "raw and raunchy" and "a solid reminder of why Mack is regarded as a pioneer of the electric blues-guitar style that dominated rock in the late sixties." The Kingston Whig-Standard wrote that "Mack has a whipsaw-raspy country-blues voice that any of today's rockers would kill for." The Daily Oklahoman stated that the songs "are distinguished by Mack's trademark—stinging, low-register, twangy guitar—and his raspy, born-for-the-blues vocals."

The Omaha World-Herald deemed the album "rolling rhythm and blues that avoids the cliches and pitfalls of usual guitar albums." The Dallas Morning News praised the "great playing, inventive blues songwriting, and some of the best blues vocals in a long, long time." New Orleans music magazine Wavelength wrote that Mack's guitar soloing and singing were great, but criticized Vaughan's production for "shoddy arrangements, plodding drumbeats", and poor sound quality.

## Track listing


If You Had My Love

# If You Had My Love

## Abstract

"If You Had My Love" is the debut single by American actress and singer Jennifer Lopez from her first studio album, On the 6 (1999). The song was written by Lopez, LaShawn Daniels, Cory Rooney, Fred Jerkins III, and its producer Rodney Jerkins, also serving as the album's lead single. A midtempo pop and R&B song, it features Latin music and hip hop influences, with lyrics revolving around the beginning of a new relationship, during which Lopez confronts her admirer with a number of ground rules.

Critics reacted positively to "If You Had My Love", praising its groove and production and how it complemented Lopez's voice. Upon its release, the song generated instant attention and became a commercial success, peaking at number one on the US Billboard Hot 100 for five weeks. It became one of the best-selling singles of 1999, selling over 1.2 million units in the US alone. The song was also an international success, topping the charts in Australia, Canada, Finland, Greece, Hungary, and New Zealand. Its success came as a surprise to critics, making Lopez one of few actors to successfully crossover into the music industry. This also contributed to the growing popularity of Latin artists in Northern America. In retrospect, the song has been described by a few critics as an "R&B classic", and it is considered one of Lopez's best songs.

The accompanying music video, directed by Paul Hunter, features a voyeuristic internet concept, wherein Lopez's spectators are able to direct her through cyberspace. The provocative video received heavy rotation on MTV networks internationally, allowing Lopez to establish herself in a field that was primarily dominated by Janet Jackson and Madonna. The clip was nominated for four MTV Video Music Awards and five Billboard Music Awards. Lopez promoted "If You Had My Love" through performances at the Blockbuster Entertainment Awards and VH1/Vogue Fashion Awards in 1999. She has subsequently performed it on a number of occasions, including her Let's Get Loud concerts in 2001, and her Dance Again World Tour in 2012, where she performed an acoustic version of the song. It also served as the opening number to her Las Vegas residency show, Jennifer Lopez: All I Have (2016).

## Background

After a series of co-starring film roles, Lopez had her breakthrough when she was cast in the title role of Selena (1997), a biographical film about American singer-songwriter Selena Quintanilla-Pérez. Working on the film inspired her to launch a music career, with Lopez saying: "I started my career in musical theater on stage. So doing the movie just reminded me of how much I missed singing, dancing, and the like..." After filming Selena, Lopez was "really feeling Latin roots" and recorded a demo record in Spanish. Her manager sent the song ("Vivir Sin Ti") to Sony Music 's Work Group, which was interested in signing Lopez. Tommy Mottola, the head of the label, suggested that she sing in English and she began recording her debut album, On the 6. Her decision to launch a musical career was seen as a risk, as film stars had a "patchy record" when it came to releasing pop music, and it was that thought, "If the album was a flop, not only would it embarrass Lopez but it might even damage her career." Lopez originally believed that " Feelin' So Good " was to be released as the album's lead single. "If You Had My Love" was produced by Rodney Jerkins; Lopez recorded her vocals for the song at Sony Music Studios in New York City with engineers Franklyn Grant and Robb Williams. The song was later mixed by Tony Maserati at The Hit Factory in NYC, and subsequently mastered by Herb Powers at Powers House of Sound. Shawnyette Harrell and Jennifer Karr served as backing vocalists.

According to Cory Rooney, one of the song's co-writers, Lopez had almost finished recording On the 6 when Rooney and Jerkins played a CD playlist of songs for Michael Jackson, which included "If You Had My Love". Rooney believed the song was "perfect for Jennifer", and hoped that Jackson would not take it. Rooney recalled: "The music begins and Michael starts moving and shaking to it and he goes, 'Man, I like this one.' My heart sunk. Then he says, 'I don't like it for me, but I like it. It's gonna be a hit for someone else.'" Rooney said that he and LaShawn Daniels wrote "If You Had My Love" later that day. Conversely, journalist Damien Shields stated in 2015 that Rooney had Lopez record the song in 1998, and it had already been allocated to her when Jackson heard it. Jackson thought the song had a "really great groove" and briefly considered recording it. Shields said: "Everyone's like, 'Shit, now we're going to have to argue with the King of Pop because that's already going to be Jennifer's first song and it's already in motion and is going to radio in two months.' How do you possibly tell Michael Jackson no?" Jackson passed on the song, believing it was better suited for a female singer.

"If You Had My Love" became the subject of some controversy when it emerged that Jerkins had written a "nearly identical song" for singer Chanté Moore. Moore asserted that her song "If I Gave Love" was re-written with the same arrangement for Lopez after it was requested by Sean Combs, one of On the 6 ' s producers. Moore said: "He wrote the same song for her. I heard that it was because Puff Daddy walked in and heard my song and said 'I want that song,' and he was like 'Well that's already taken. We wrote that for Chante,' and he was like 'I want that song.' So Rodney wrote, really, the same song." "If I Gave Love" was intended to be released as a single from her album This Moment Is Mine (1999), but was ultimately scrapped before Lopez recorded her version.

## Composition and lyrics

Musically, "If You Had My Love" is a mid-tempo pop and R&B song with a length of four minutes and twenty-five seconds (4:25), which contains elements of salsa and hip hop. The song was written and composed mainly by Rodney Jerkins, LaShawn Daniels and Cory Rooney, with Lopez also penning lyrics; Jerkins also served as producer. It is written in the key of B minor with a tempo of 94 beats per minute. The instrumentation of "If You Had My Love" consists of a piano and guitar. Lopez's vocals in the song span from the lower note of A♯ to the higher note of E♯. BBC Music writer Michael Cragg remarked that her vocals possessed a "cooing innocence". Beth Johnson of Entertainment Weekly described the song as "slow- funk ".

Lyrically, the song has Lopez confronting her admirer in an "insistent" manner with a number of ground rules before they can begin a relationship. MTV 's James Dinh said Lopez "lets her insecurities get the best of her" on the track. Billboard writer Leslie Richin wrote that it "served as a cautionary tale for admirers who might one day have a chance with the budding starlet. Bottom line: liars and cheaters need not apply." In the song's opening lines, Lopez states: "Now if I gave you me, this is how it's got to be / First of all I won't take you cheatin' on me / Tell me who can I trust if I can't trust in you / And I refuse to let you play me for a fool." In the chorus, she poses the question: "If you had my love / And I gave you all my trust... / Would you lie to me / And call me baby?" Lopez explained in her book True Love (2014) that the lyrics refer to "the beginning of a new relationship and what I expect and what I want", saying that "there's a little bit of fear in there too, and a feeling of, what will you do if I give you my heart?" The verses consist of her "trying to lay down the rules", while the chorus expresses "all of the fear" that she feels. Jocelyn Vena of MTV News noted that "If You Had My Love" marked the beginning of Lopez exploring the topic of love, which she has continued throughout her career.

## Critical reception

"If You Had My Love" was received positively by music critics. In a review of On the 6, NME noted that Lopez "really comes into her own" on the song, describing it as one of the album's "street-smart swingbeat winners". Chuck Taylor of Billboard spoke favorably of the song's production, calling it "contemporary and edgy, straight down the Faith Evans pathway", but noted that its melody was similar to that of " The Boy Is Mine ", another song written and composed by Jerkins. Taylor wrote, "Lopez seems to have command of the most important element—her voice—though admittedly, the vocal melody of this song holds tightly to a very narrow edge. Lopez might remind listeners of the funkier side of Vanessa Williams Curiosity alone will propel this onto the pop and R&B airwaves; at that point, the hook, along with an undoubtedly compelling video clip, should take this debut far." AllMusic 's Heather Phares said that it has a "fiery, soulful sound more in keeping with Lopez's public persona". Aaron Beierle of DVD Talk praised the song as "catchy", writing that it "showcases the singer's style well".

Johnson of Entertainment Weekly was also favorable, noting the song to feature a "silky groove". Johnson also observed: "Considering the dustbins filled with movie stars' vanity discs, why expect this actress' recording debut to be hit-bound? Well, surprise, surprise." Elysa Gardner of the Los Angeles Times described the track as an "exotic hip hop" workout. Vibe magazine writer Dream Hampton called the song "sweet" and "upbeat", and commented on Lopez's "strong" vocals. Brian McCollum of the Rome News-Tribune called "If You Had My Love" one of the year's most "infectious" singles. In a review of Lopez's remix album J to tha L–O! The Remixes (2002), Sal Cinquemani of Slant Magazine praised the Dark Child remix of "If You Had My Love", which utilized a "delectable" interpolation of Jackson's " Liberian Girl " (1987).

However, Jerome Joseph, also from the Los Angeles Times, was not as positively receptive of the single, arguing that it sounded like a " Brandy or Monica reject", and called Lopez " Paula Abdul 2000". Similarly, Hartford Courant writer Roger Catlin stated that the song is "more of a bland R&B number that could have been sung by anybody", suggesting it has "little Latin flair". While Scott Iwasald of the Deseret News characterized Lopez's vocals as "sultry" but thin, he noted that she finds a "nice ring" in songs such as "If You Had My Love". A retrospective review by Tom Breihan of Stereogum bemoaned that in spite of production showcasing "state-of-the-art late-’90s R&B flutter-gleam" and Lopez's convincing delivery, the song was "overly repetitive and a little too slow", particularly for trading a bridge for two more utterances of the chorus. At the 1999 Teen Choice Awards, the song won the award for "Song of the Summer".

## Commercial performance

Following its release on May 11, 1999, the song garnered instant radio attention. Promotional images relating to the single featured Lopez in "seductive poses" and "skin tight clothing". Billboard commented that the Work Group was "taking every advantage of her sexy image to aid the marketing side". "If You Had My Love" debuted at number 81 on the US Billboard Hot 100 for the week ending May 15, 1999, and moved to number 64 in its second week. The following week, the song sold 66,000 copies, debuting at number five on the Hot 100 Singles Sales chart. This, along with a 16.7% increase in radio audience, allowed it to rise to number eight on the Hot 100; it also reached the top 10 of the Hot R&B/Hip-Hop Songs chart this week. In its fourth week, the song rose to number one on the Hot 100 Singles Sales, with 120,000 units sold during the week, representing an 80% increase in sales. It subsequently moved to number two on the Hot 100, earning the "Greatest Gainer" title of the week.

For the week of June 12, 1999, "If You Had My Love" reached number one on the Hot 100. It experienced 30% increase in sales and an airplay increase of 5.6 million in audience impressions. The song displaced Ricky Martin 's " Livin' La Vida Loca " on the Hot 100, which was the first time a Latin artist followed another Latin artist to the top of the chart since Gloria Estefan 's " Coming Out of the Dark " replaced Timmy T 's " One More Try " in March 1991. Lopez became the first artist to top the Billboard Hot 100 with their debut single since Britney Spears did so with her single "...Baby One More Time " just four months prior. Furthermore, "If You Had My Love" gave the Work Group its first number one hit on the chart. In its sixth week, the song sold a further 170,500 copies. This week, "If You Had My Love" became the second song in the magazine's history to be number one on the Hot 100 and be the "Greatest Gainer" in both sales and airplay, after "Livin' La Vida Loca" in May. In addition, the song also became the first in Billboard history to claim to number one position on the Hot 100, Hot 100 Singles Sales, and R&B Singles Sales charts simultaneously.

For the week ending July 17, 1999, the song fell to number two on the Hot 100, having been dethroned by Destiny's Child 's " Bills, Bills, Bills ". Despite this, it reached its highest radio audience to date this week, with 84.2 million listeners. It spent five weeks at number one on the Hot 100, tying with Christina Aguilera 's " Genie in a Bottle " for the longest-running number one hit of the summer. "If You Had My Love" remained in the top ten until September 1999. The song would also peak at number two on the US Pop Songs chart, six on Hot R&B/Hip-Hop Songs, and five on Hot Dance Club Play. It was the sixth best-selling song in the US of 1999 with 1.2 million copies sold, and was certified platinum by RIAA. In 2015, Billboard ranked the song as the second biggest hit of the summer of 1999, behind "Genie in a Bottle".

The song debuted and peaked at number four on the UK Singles Chart, selling 77,000 copies in its first week. The song became the first of Lopez's 17 top 10 hits in that country. By 2016, it had sold 372,000 copies in the United Kingdom. "If You Had My Love" reached number one in Australia, and was certified platinum by the Australian Recording Industry Association for shipments of 70,000 units. It also topped the charts in New Zealand, Canada, the Netherlands and Finland. In France, it was certified gold by the Syndicat National de l'Édition Phonographique for shipments of 100,000 units. It was also certified gold in Germany, Switzerland, and New Zealand. Reflecting on the song's success in 2011, Lopez said, "Still I think about that and still it's like wow, my first record I ever did went to number one. It's just an overwhelming feeling. This does not happen all the time. This is a very special thing." As of 2017, the single has sold over 5 million copies worldwide.

## Music video

### Production

The music video for "If You Had My Love" was directed by Paul Hunter. It features a voyeuristic internet theme, wherein a range of viewers watch Lopez through webcams by accessing "Jennifer Lopez Online". The Los Angeles Times described it as a "timely thematic fusion of elaborate dance numbers, the voyeurism of the Internet and Lopez's raw powers of attraction on men, women and little girls". The "interactive" music video was launched in junction with Lopez's own official website at the time. Its "voyeuristic quality" was Hunter's idea, while Combs came up with the website concept that "tied it all together". Lopez, who had a specific idea of how she wanted the dance break to be, described the music video as a collaboration between herself, Hunter, Combs, and her manager Benny Medina. The clip debuted on the May 17, 1999, edition of Total Request Live, and was serviced to music video outlets for the week ending May 22, 1999. Actor Adam Rodriguez, who appears in the music video, said: "Jennifer and I were friends when she called me up to do her video I remember thinking, 'Why not just do it?' Then it turned out that the single was a massive hit and what really catapulted her career to global fame. To be a part of that made it a fun summer because everybody knew that video." Lopez's outfits and accessories in the music video included a white bikini top and low rise sweatpants, a "plunging" gold necklace, and a mini mirror dress during one of the dance sequences. In it, she also sported a sleek hairstyle with honey highlights.

### Synopsis

The clip begins in a dark room, where a man (Rodriguez) searches "Jennifer Lopez" on his computer and is redirected to her website (which is displayed by special effects emulating binary numbers). He views a live feed of Lopez in her home, which is filled with cameras. She appears in a number of settings, including a living room and crawling over a table, and is visibly aware of the viewers, waving to the camera before the song begins. The man is not alone in his voyeuristic actions, as patrons of an internet café, a little girl in her bedroom, and Latin women in their kitchen among others are also streaming a live feed of Lopez through computers and internet television. Viewers are able to select where Lopez is located in cyberspace from a range of options. The man clicks on a room showing Lopez in the bathroom, singing whilst checking her reflection in the mirror.

Lopez's feed is also being streamed live to a nightclub and a call center. The man then clicks on the dance option and is once again entered through the special effect binary. Lopez proceeds to perform a series of dances (including jazz, house, and Latin soul) as the song moves into a remixed portion, set to an excerpt of the Pablo Flores remix version. The man then zooms in on Lopez's skirt, as she dances to Latin music. He then raises the sexual intonation again by requesting a scene in which Lopez is taking a shower. A pair of mechanics who had been watching this soon turn their heads to Lopez and pay no attention to their burning car as they glue their eyes to the screen. A new user is introduced, and it is implied that he throws his computer underwater to "turn down the heat" (so to speak), where he continues to watch her. In the original ending, Rodriguez is shown running his left hand underneath his shirt and "sucking his right hand's fingers" while Lopez looks at him through the camera while in the shower. This footage was cut from the final version.

### Reception and impact

Following its release, the "body-emphasizing" music video was played in heavy rotation on MTV. Richin Leslie of Billboard called it " muy caliente " and a "fantasy", and Vibe named it one of her best dance videos. In 2015, BET 's Britt Middleton wrote, "We don't think anyone can forget Jennifer's saucy dance number from her debut video." According to monitoring by Nielsen Broadcast Data Systems, the clip became the most played on VH1 at one point in August 1999. In August 1999, a writer from Billboard discussed the video's international impact, writing that Lopez "isn't too far behind Ricky Martin as the leading light of Latin music in Asia. On the strength of the video for 'If You Had My Love,' Lopez has skyrocketed from an unknown to superstar status in markets as diverse as the Philippines and India." Jeff Selamutu, a programming manner from Channel V, opined that Lopez "really pushed the envelope for international female artists" in the Asia-Pacific region, noting: "Up to now, it's only been Janet Jackson and Madonna." As a result, Channel V structured a month-long campaign around the release of On the 6, with "If You Had My Love" being played up to six times a day on the network's international feeds. In 2014, Christina Lee of Idolator described the video as "classic Jennifer", saying: "The way Jennifer would stare into the camera – that was effortless One moment she's tough, with her hard stares and insistent lyrics But then she pivots her hips and sneaks a casual smile over her shoulder. She was both a diva and down-to-earth."

Nine.com.au called the music video's cyberstalking vibe "creepy", with Complex magazine regarding the video as one of the "Greatest Tech Moments in Music Video History". Breihan described the video as "a great little time-capsule image of the circa-Y2K internet", and praised the dance interlude, considering the segment "lively enough that I would always feel a serious energy dropoff when the main track came back". Lisa Nakamura analyzed the video in her book Digitizing Race: Visual Cultures of the Internet (2008), noting that it "puts a new spin on the traditional female position as object of the gaze", where Lopez presents herself "as an objective of interactivity". Nakamura added: "In this video we have access to the star's body through the viewer's mind. We see her as he sees her, through interface use. This split represents a paradigmatic dichotomy in gender theory: the body is that of the Latina, the woman of color, and the mind is that of a white man." In Rewind, Play, Fast Forward: The Past, Present and Future of the Music Video (2015), authors Henry Keazor and Thorsten Wübbena observed that "the idea of an online presence of a musical star was conceived and visualized" in the video, writing: "the singer was presented as a sort of 'belle captive' (as one could put it by quoting the title of a novel by Alain Robbe-Grillet), because she seems to be confined to a series of white, clinical rooms where everything is under observation". The authors also noted that the video foreshadowed "the reality as it was viewable" through the YouTube phenomenon. Justin Myers of the Official Charts Company said that the "reality TV-inspired video" which predated the UK version of Big Brother in fact resembled the first series, calling this "J-Lo's #impact". In 2021, American rapper Princess Nokia paid homage to the video in her own music video for "It's Not My Fault", in which she recreated Lopez's look and a number of scenes from "If You Had My Love".

Fuse.tv included "If You Had My Love" among Lopez's most iconic music video looks. Monica Castillo of Cosmopolitan called Lopez's outfit "inexplicably sexy", while Latina magazine writer Nichole Fratangelo said she "looked angelic in white but of course, she gave it a naughty twist". Gaby Wilson of MTV News highlighted the video's influence in Selena Gomez 's video for " Slow Down ", stating that it was similar to Lopez "dancing solo in that clinically white/silver space". Rolling Stone writer Suzy Exposito considered the video "not just weirdly sexy, but weirdly prescient of the days to follow 9/11, when NSA's omnipresence through technological surveillance became standard for U.S. civilians". At the 1999 MTV Video Music Awards, the video received four nominations, including Best Female Video, Best Dance Video, Best Pop Video, and Best New Artist in a Video. At the 1999 Billboard Music Video Awards, "If You Had My Love" was nominated for the Maximum Vision Award, Best Dance Clip, Best New Artist Dance Clip, Best Pop Clip, and Best New Artist Pop Clip. Lopez was the artist with the most nominations that year.

## Live performances

Lopez performed "If You Had My Love" at the 5th Blockbuster Entertainment Awards which were held on June 16, 1999. That December, she performed the Darkchild remix of the song at the VH1/Vogue Fashion Awards, where she also won the award for "Fashionable Female Artist". In September 2001, performed it again during her Let's Get Loud concerts in Puerto Rico, which were her first full shows.

Lopez included "If You Had My Love" on the set list of her 2007 co-headlining concert tour with then-husband Marc Anthony, which was her first tour. At her October 2011 Mohegan Sun concert celebrating the casino's 15th anniversary, Lopez performed an acoustic version of "If You Had My Love". The stage was lit by blue and surrounded by dry-ice smoke, with Lopez asking the audience, "You want to talk about love?" as she introduced the song. It was reported that Lopez "broke down" in tears after the performance. Lopez once again performed a "stripped down" acoustic version of the song throughout her 2012 Dance Again World Tour. Describing it as the "first real intimate moment of the show", she wanted to perform a "pared down" version of the song so that it would feel like a conversation, "like I'm talking with the audience, sharing where I began and where I find myself now". Gerrick Kennedy of the Los Angeles Times wrote that while "Live ballads still aren't firmly in her wheelhouse", Lopez "sounded best" during the acoustic performance. Michele Amabile Angermiller of The Hollywood Reporter called the performance "a sweet and intimate moment", adding: "Sometimes, simply delivering a song without all the bells and whistles is enough."

At the Dubai World Cup in March 2014, Lopez performed a striptease, in which she had "If You Had My Love" woven in with her song " Girls " (2014). She described the performance as burlesque -esque. "If You Had My Love" serves at the opening number in her Las Vegas residency, Jennifer Lopez: All I Have, which commenced in 2016. The performance was preceded by an "ethereal, fairy-tale overture", where female dancers in showgirl costumes were suspended above the stage. Lopez wore a crystal-encrusted sparkly bodysuit and a white feathered robe. The Guardian writer Eve Barlow called it a "dazzling opening". The song was also incorporated into the striptease segment later in the show, where she "writhed around a chaise lounge".

## Impact

Following the release of "If You Had My Love", which according to Taylor was preceded by a "hype storm that has clapped like thunder for months", Lopez rose to international visibility and was propelled to pop stardom. The New York Daily News noted that "the world knew that J.Lo was something special". Radar Online stated that she "became a pop sensation overnight". While she had already achieved notability as an actress, the song's success is what made Lopez a household name. The release of "If You Had My Love" and On the 6 allowed Lopez to join an "elite circle" of actors who had successfully crossed over to music, becoming the first since Vanessa Williams in 1992 and Martika in 1989. In 2008, News.com.au wrote that the transition from actress to singer "has always been a precarious career path, claiming many victims", identifying Lopez as one of the "success stories that keep a steady stream of actresses attempting to make that career crossover". The website also wrote: "For every success story there are more than a handful of failures, or in celebrity-to-celebrity ratio, one Jennifer Lopez to three Minnie Drivers." Rolling Stone noted that the single marked the beginning of Lopez's own media empire. Writing for Dazed, Kat George opined that Lopez was celebrity feminist, a premise that was defined by "If You Had My Love", which had a "succinct and demanding message about womanhood".

The success of "If You Had My Love", which was considered unlikely, coincided with the "Latin explosion" of 1999, which was led by Ricky Martin. Some critics assumed that Lopez was attempting to capitalize on the growing popularity of Latin music in the United States. Her subsequent success on the charts came as a surprise to critics; Herón Marquez wrote in Latin Sensations (2001) that it "made the popular actor even more popular. Suddenly, the music industry and the public were intrigued by this woman who seemed to have so many different talents." Chris Poppe, vice president of marketing for Epic Records, noted: "It was easy for the media to lump Jennifer into that, even though this is technically not a Latin album. It drew a lot of positive attention to 'If You Had My Love'. Radio reacted almost immediately to the song." Jennifer Charles from KSZR said, "If you had doubts about the idea of Jennifer Lopez as a recording artist, they were gone once the groove kicked in and she started to sing." The interest in Martin and Lopez was further credited with "boosting the profile of Latin music in Canada", and helped Sony Music Entertainment Canada launch another singer, Marc Anthony.

Considered iconic, a number of sources have listed "If You Had My Love" as one of Lopez's best songs. Complex magazine named the song her greatest hit in 2012. About.com music journalist Bill Lamb ranked the song as Lopez's best song, praising its "elegant feel laced with surging strings". AOL Radio listeners also chose it as her best song. A reporter from the International Business Times called the song "radio-friendly" and said it was her second best song behind " Love Don't Cost a Thing ". Stacy Lambe of VH1 listed the song as Lopez's fifth best single, writing: "Lopez's debut single drew on everything that was popular in 1999. It fused together the synths made popular by TLC, highlighted the Latin flare made profitable by Ricky Martin and came packaged with Lopez's movie brand recognition and sex appeal. The pop song did what it was supposed to do, debuting at number 1 on the Billboard Hot 100 and announcing that Jennifer the singer had arrived." Bustle magazine writer Jordana Lipsitz called it one of the defining songs of the summer of 1999, adding: "This song was the jam you and your gal pals practiced your back up dancer routines with. Admit it." Rolling Stone included the song on a list of the "20 Biggest Songs of the Summer" from the 1990s. In 2012, Lewis Corner of Digital Spy described "If You Had My Love" as an "R&B classic", which serves as "a firm reminder of her fiercely independent but hopeless romantic nature, which seems to reflect her colourful personal life". Rapper T-Pain stated that it was the Darkchild remix of "If You Had My Love", which he recalled used Auto-Tune "for like a second", that inspired his use of the pitch correction processor. Canadian recording artist Drake sampled the song's chorus in "Teenage Fever", a song from his mixtape More Life (2017). American singer Melanie Martinez sampled the song on "Brain and Heart" off her After School EP, released in 2020.

## Track listing and formats

## Credits and personnel

Credits adapted from the liner notes of On the 6 and Billboard.

- Chuck Bailey – assistant engineer

- Brian Calicchia – assistant engineer

- Larry Gold – strings arranger and conductor

- LaShawn Daniels – vocal producer, songwriter

- Franklyn Grant – engineer

- Shawnyette Harrell – background vocals

- Fred Jerkins III – songwriter

- Rodney Jerkins – producer, songwriter

- Jennifer “Jenny” Karr – background vocals

- Bill Makina – programming

- Glen Marchese – strings arranger

- Tony Maserati – mixer

- Cory Rooney – vocal producer, songwriter

- Robb Williams – strings arranger, assistant engineer

## Charts


HMS Basilisk (1910)

# HMS Basilisk (1910)

## Abstract

HMS Basilisk was a Beagle -class (from 1913 G-class) destroyer of the British Royal Navy. The Beagle s were coal-fuelled ships, designed for a speed of 27 kn (31 mph; 50 km/h) and armed with a 4 in (102 mm) gun and two torpedo tubes. Built by J. Samuel White and launched in 1910, Basilisk was initially commissioned into the First Destroyer Flotilla at Portsmouth. In 1912, the warship joined the Third Destroyer Flotilla before being transferred to the Mediterranean Fleet as part of the Fifth Destroyer Flotilla in 1913. As the First World War approached, the destroyer was based in Alexandria, Egypt, but was swiftly redeployed to Malta, followed, in 1915, by action in the Dardanelles Campaign. After the Armistice of 1918 that ended the war, Basilisk was initially transferred to the Nore and then sold in 1921 to be broken up.

## Design and development

Basilisk was one of the Beagle -class destroyers ordered by the Admiralty as part of the 1908–1909 shipbuilding programme. The bridge was larger and higher than previous designs and the vessels were coal-burning after concerns had been raised about the availability of fuel oil in time of war. This reduced costs, although it also meant that five boilers were needed, the extra machinery meaning that deck space became more premium. The Beagle -class vessels were not built to a standard design, with detailed design being left to the builders of individual ships in accordance with a loose specification, in this case J. Samuel White. The class were also known, on occasion, as the Basilisk class, named after this vessel. In October 1913, as part of a wider renaming of the Royal Navy's warships into classes named alphabetically, the class was renamed as the G-class.

Basilisk was 275 ft (83.8 m) long, with a beam of 28 ft (8.5 m) and a draught of 16 ft 6 in (5 m). Normal displacement was 976 long tons (992 t). Five White-Forster boilers fed direct-drive Parsons steam turbines driving three shafts. Two funnels were fitted. The machinery was rated at 12,000 shaft horsepower (8,900 kW) giving a design speed of 27 kn (31 mph; 50 km/h). During sea trials, the destroyer reached a speed of 27.984 kn (32.203 mph; 51.826 km/h) at a displacement of 968 long tons (984 t). Up to 226 long tons (230 t) of coal was carried, giving a design range of 2,000 nautical miles (3,700 km; 2,300 mi) at 15 knots (28 km/h; 17 mph). The ship had a complement of 96 officers and ratings.

Armament consisted of one 4 in (102 mm) BL Mk VIII gun forward and three 3 in (76 mm) QF 12-pounder 12 cwt guns aft. Torpedo armament consisted of two rotating 21 in (533 mm) torpedo tubes, one placed forward and the other aft. Two spare torpedoes were carried. On 8 April 1916, the Admiralty approved fitting the destroyer with depth charges. Two depth charge launchers and two charges were carried.

## Construction and career

Basilisk was laid down by J. Samuel White at East Cowes on the Isle of Wight with the yard number 1293 on 11 May 1909, and launched on 9 February the following year. The ship cost £109,729. Basilisk was the ninth to serve in the Royal Navy named for the mythical creature. The vessel was commissioned at Portsmouth and joined the First Destroyer Flotilla on 17 September. In 1912, a reorganisation of the Home Fleet resulted in the ships of the Beagle class forming the Third Destroyer Flotilla. The vessel remained part of the Third Flotilla in March 1913. Basilisk was transferred, along with the rest of the class, to the newly-formed Fifth Destroyer Flotilla as part of the Mediterranean Fleet.

As the First World War approached, Basilisk was part of the Second Division of the Fifth Flotilla and based in Alexandria. The destroyer sailed to Malta, joining the rest of the flotilla on 9 August. The island had a coal shortage, which restricted the vessel's activity. On 6 August 1914, the Second Division was deployed searching for the German battlecruiser Goeben and light cruiser Breslau but this was curtailed by a lack of fuel. On 18 August, the destroyer was deployed to Suez to deter the Ottoman Empire from restricting British access to the Suez Canal. From 25 October, the destroyer, along with sister ship Racoon, patrolled the Gulf of Suez. The ship subsequently joined the force based in the Suez Canal and Red Sea to protect the sea lane for Allied shipping.

On 19 November, Basilisk sailed for Tenedos and spent the next year supporting the naval operations in the Dardanelles Campaign. In preparation for the assault, the Admiralty decided to attack the defences on the Dardanelles strait with the pre-dreadnought battleships Albion, Majestic and Triumph. The attack was largely ineffective as the troops moved the batteries so they were safe from bombardment. On 26 February 1915, Basilisk, alongside Racoon, escorted the battleships Cornwallis, Irresistible and Vengeance as they attempted to land parties to attack the batteries. This was also largely ineffective and also exposed the force to the presence of large minefields across the narrows of the Dardanelles straits.

On the night of 1/2 March, along with sister ships Grasshopper, Mosquito and Racoon, the destroyer escorted trawlers attempting to clear the minefields. The force came under heavy fire from Turkish guns, and were forced to turn back before reaching the minefields. It was then decided to clear the minefields by day while the British and French battleships suppressed the Turkish guns that protected the minefields. This was attempted on the following day, with Basilisk, Grasshopper, Mosquito and Racoon again escorting the minesweeping trawlers. The attempt failed, however, with the fire from mobile guns forcing the minesweepers to turn back. Even more consequentially, the battleships Ocean and Irresistible, along with the Bouvet, hit mines and sank. On 6 August, the ship carried troops of the IX Corps to their landing at Suvla Bay. After the army had retreated, the destroyer then escorted the light cruiser Chatham, the flagship of Admiral Rosslyn Wemyss, in bombarding Ottoman Army positions at Suvla.

The destroyer remained a member of the Fifth Destroyer Flotilla within the Mediterranean Fleet. The need for destroyer escorts increased dramatically as the Imperial German Navy introduced unrestricted submarine warfare. By June 1917, the submarines were sinking 142,338 long tons (144,622 t) of shipping a month. In response, the Admiralty introduced convoys on major routes, including those between Malta and Egypt, escorted by destroyers. On 20 January 1918, Basilisk, along with the monitors M29 and M32, was detached to Alexandria.

After the Armistice of 11 November 1918 that ended the war, the Royal Navy quickly withdrew all pre-war destroyers from active service. By February 1919, Basilisk had been transferred to The Nore. As the force returned to a peacetime level of strength, both the number of ships and personnel needed to be reduced to save money. Declared superfluous to operational requirements, Basilisk was retired, and, on 1 November 1921, sold to Fryer of Sunderland to be broken up.