Hermaphroditus
Son of Aphrodite and Hermes in Greek mythology
In Greek mythology, Hermaphroditus (; , ) was a child of Aphrodite and Hermes. According to Ovid, he was born a remarkably beautiful boy whom the naiad Salmacis attempted to rape and prayed to be united with forever. A god, in answer to her prayer, merged their two forms into one and transformed him into a hermaphrodite, he being considered the origin of the name. His name is compounded of his parents' names, Hermes and Aphrodite. He was one of the Erotes.
Because Hermaphroditus was a child of Hermes, and consequently a great-grandchild of Atlas (Hermes's mother Maia was the daughter of Atlas), he is sometimes called Atlantiades ().
Symbolism.
Hermaphroditus, the two-sexed child of Aphrodite and Hermes (Venus and Mercury), had long been a symbol of androgyny or effeminacy, and was portrayed in Greco-Roman art as a female figure with male genitals.
Theophrastus's account also suggests a link between Hermaphroditus and the institution of marriage. The reference to the fourth day of the month is telling: this is the luckiest day to have a wedding. association with marriage seems to have been that, by embodying both masculine and feminine qualities, he symbolized the coming together of men and women in sacred union. Another factor linking Hermaphroditus to weddings was his parents' role in protecting and blessing brides.
Hermaphroditus's name is derived from those of their parents Hermes and Aphrodite. All three of these gods figure largely among erotic and fertility figures, and all possess distinctly sexual overtones. Sometimes, Hermaphroditus is referred to as Aphroditus.
Mythology.
Ovid's account relates that Hermaphroditus was nursed by naiads in the caves of Mount Ida, a sacred mountain in Phrygia (present day Turkey). At the age of fifteen, he grew bored with his surroundings and traveled to the cities of Lycia and Caria. It was in the woods of Caria, near Halicarnassus (modern Bodrum, Turkey) that he encountered the nymph Salmacis, in her pool. She was overcome by lust for the boy, who was very beautiful but still young, and tried to flirt with him, but was rejected. When he thought she had left, Hermaphroditus undressed and entered the waters of the empty pool. Salmacis sprang out from behind a tree and jumped into the pool. She wrapped herself around the youth, forcibly kissing him and touching his breast, attempting to rape him. While he struggled, she called out to the gods that they should never part. Her wish was granted, and their bodies blended into one form, "a creature of both sexes". Hermaphroditus prayed to Hermes and Aphrodite that anyone else who bathed in the pool would be similarly transformed, and his wish was granted.
Hungarian classical philologist Károly Kerényi wrote: "In this form the story was certainly not ancient". He related it to the Greek myths involving male youths ("ephebes"), noting the legends of Narcissus and Hyacinth, who had archaic hero-cults, and also those involving Hymen (Hymenaios).
Diodorus Siculus, in his work "Library of History", mentions that some say that Hermaphroditus is a god and appears at certain times among men, but there are some who declare that such creatures of two sexes are monstrosities, and coming rarely into the world as they do have the quality of presaging the future, sometimes for evil and sometimes for good.
In a description found on the remains of a wall in Halicarnassus, Hermaphroditus' mother, Aphrodite, names Salmacis as the nymph who nursed and took care of an infant Hermaphroditus after being placed in her care, a very different version than the one presented by Ovid.
The satirical author Lucian of Samosata also implies that Hermaphroditus was born like that, rather than becoming later in life against his will, and blames it on the identity of the child's father, Hermes.
Cult and worship.
The oldest traces of the cult in Greek countries are found in Cyprus. Here, according to Macrobius ("Saturnalia", iii. 8), there was a bearded statue of a male Aphrodite, called Aphroditus by Aristophanes. Philochorus in his "Atthis" (ap. Macrobius "loc. cit.") further identified this divinity, at whose sacrifices men and women exchanged garments, with the Moon. A terracotta plaque from the 7th century BC depicting Aphroditos, which was found in Perachora, suggests it was an archaic Greek cult.
The deification and the origins of the cult of Hermaphroditus beings stem from Eastern religions, where the hermaphrodite nature expressed the idea of a primitive being that united both sexes. This double sex also attributed to Dionysus and Priapus – the union in one being of the two principles of generation and conception – denotes extensive fertilizing and productive powers.
This Cyprian Aphrodite is the same as the later Hermaphroditos, which simply means Aphroditos in the form of a herma, and first occurs in the "Characters" (16) of Theophrastus. After its introduction at Athens (probably in the 5th century BC), the importance of this deity seems to have declined. It appears no longer as the object of a special cult, but limited to the homage of certain sects, expressed by superstitious rites of obscure significance.
We find in Alciphron that there was at Athens a temple of Hermaphroditus. The passage proposes that he might be considered as the deity who presided over married people; the strict union between husband and wife being aptly represented by a deity, who was male and female inseparably blended together.
In "Greek Anthology", at the chapter in which describe the statues in the Baths of Zeuxippus, it also mentions and describes a statue of Hermaphroditus.
Literature.
The earliest mention of Hermaphroditus in Greek literature is by the philosopher Theophrastus (3rd century BC), in his book "The Characters", XVI The Superstitious Man, in which he portrays various types of eccentric people.
<templatestyles src="Template:Blockquote/styles.css" />Also on the fourth and seventh days of each month he will order his servants to mull wine, and go out and buy myrtle-wreaths, frankincense, and smilax; and, on coming in, will spend the day in crowning the Hermaphrodites.
The first mention of Hermes and Aphrodite as Hermaphroditus's parents was by the Greek historian Diodorus Siculus (1st century BC) in his book "Bibliotheca historica", book IV, 4.6.5.
<templatestyles src="Template:Blockquote/styles.css" />Hermaphroditus, as he has been called, who was born of Hermes and Aphrodite and received a name which is a combination of those of both his parents. Some say that this Hermaphroditus is a god and appears at certain times among men, and that he is born with a physical body which is a combination of that of a man and that of a woman, in that he has a body which is beautiful and delicate like that of a woman, but has the masculine quality and vigour of a man. But there are some who declare that such creatures of two sexes are monstrosities, and coming rarely into the world as they do they have the quality of presaging the future, sometimes for evil and sometimes for good.
The only full narration of his myth is that of Ovid's "Metamorphoses", IV.274–388 (8 AD), where the emphasis is on the feminine snares of the lascivious water-nymph Salmacis and her compromising of Hermaphroditus' erstwhile budding manly strength, detailing his bashfulness and the engrafting of their bodies.
A rendering of the story into an "epyllion", published anonymously in 1602, was later (1640) attributed by some to Francis Beaumont.
Ausonius, in his "Epigramata de diversis rebus / Epigrams on various matters" (4th century), also tells of Hermaphroditus' parentage and union with the nymph Salmacis.
<templatestyles src="Template:Blockquote/styles.css" />On Hermaphroditus and his Nature—By Mercury begotten, conceived by Cythera, Hermaphroditus, compound alike in name and frame, combining either sex, complete in neither, neutral in love, unable to enjoy either passion.
<templatestyles src="Template:Blockquote/styles.css" />On the Union of Salmacis and Hermaphroditus—The nymph Salmacis grew one with the mate she desired. Ah, happy maid, if she is conscious of a man's embrace. And twice happy thou, O youth, united with a lovely bride, if one being may still be two.
In the "Palatine Anthology", IX.783 (980 AD), there is a reference to a sculpture of Hermaphroditus which was placed in a bath for both sexes. The passage IX.317 is in dialogue form, based on the dialogue between Hermaphroditus and Silenus. The latter claims that he has had sexual intercourse with Hermaphroditus three times. Hermaphroditus complains and objects to the fact by invoking Hermes in an oath, while Silenus invokes Pan for the reliability of his allegations.
Algernon Charles Swinburne's poem "" in "Poems and Ballads" is subscribed "Au Musée du Louvre, Mars 1863", leaving no doubt that it was the Borghese Hermaphroditus that had inspired his ode.
References.
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Salmacis
Nymph in Greek mythology
Salmacis () was an atypical Naiad nymph of Greek mythology. She rejected the ways of the virginal Greek goddess Artemis in favour of vanity and idleness.
Mythology.
Ovid's version.
Salmacis' attempted rape of Hermaphroditus is narrated in the fourth book of Ovid's "Metamorphoses" (see also Dercetis).
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One day, Hermaphroditus went swimming in his pool. Upon seeing him, Salmacis was struck with love for him, approached him and confessed her love to him; but he was not interested, and demanded she leave. She did so, but her passion took her back, unable to stay away from him. As Hermaphroditus emerged from the pool, she threw herself at him, and forcibly kissed him as he tried to escape. Salmacis then cried to the gods and begged them to let them stay together forever; and the gods answered by fusing them together for all time, into a deity that had both male and female parts. She thus becomes one with Hermaphroditus and he curses the fountain to have the same effect on every other person who would bathe there.
Other versions.
In a description found on the remains of a wall in Halicarnassus, Hermaphroditus' mother Aphrodite names Salmacis as the nymph who nursed and took care of an infant Hermaphroditus after his parents put him in her care, a very different version than the one presented by Ovid.
Lucian of Samosata also implies that Hermaphroditus was born like that, rather than becoming later in life against his will, and blames it on the identity of the boy's father Hermes.
Salmacis fountain.
Salmacis was the name of a fountain or spring located in modern-day Bodrum, Turkey. According to some classical authors, the water had the reputation of making men effeminate and soft. This legend lies at the heart of Ovid's tale of Salmacis and Hermaphroditus.
Ancient art.
A fresco in Room 10 of the "Casa della Venere in Conchiglia" (House of Venus in the Shell) in Pompeii depicts Eros standing in between Hermaphroditus and Salmacis. The fresco is possibly the earliest (before 79 AD) and the only ancient artwork of the water nymph before her union with Hermaphroditus.
Post-Classical reception.
Literature.
Francis Beaumont, a poet and playwright, wrote a poem "Salmacis and Hermaphroditus" based on Ovid's work. The poem was published anonymously in London in 1602.
Algernon Charles Swinburne's 1863 poem "Hermaphroditus", based on the Bernini sculpture of the same name in the Louvre, makes mention of Salmacis in the final stanza.
A novel of short stories by Italian writer Mario Soldati called "Salmace" (Salmacis), a title that spans the entire collection. In the story it tells of the transformation of a man into a woman, in a highly metaphorical context.
Sculpture.
A sculpture by François-Joseph Bosio, "La nymphe Salmacis" from 1826, can be seen on display at the Louvre Museum in Paris.
A sculpture by Sir Thomas Brock of Salmacis (aka "The Bather Surprised") was designed in 1868. It was modelled and exhibited at the Royal Academy, London in 1869. A variety of porcelain replicas were made from 1875 and an example was exhibited at the Paris Exhibition of 1878.
The "Fontana Greca" ("Greek Fountain") is a fountain from the Renaissance period located in Gallipoli, southern Italy. The fountain has bas-reliefs depicting three metamorphoses in Greek mythology. The center bas-relief shows Eros flying beside Aphrodite, while Hermaphroditus and Salmacis are shown below laying together and embracing.
Painting.
A painting of Salmacis in 1877 by French artist Charles Landelle was one of the most admired works at the Paris Exhibition according to The Art Journal of 1878. The painting depicts a startled Salmacis seated among reeds, clutching her drapery to her chest in alarm.
Music.
The British progressive rock band Genesis wrote and performed a song entitled "Fountain of Salmacis" on their 1971 album "Nursery Cryme". It tells the story of Salmacis' attempted rape of Hermaphroditus. At the end of the song, the lyrics state that Salmacis and Hermaphroditus were "joined as one" and forever live beneath the lake from which the fountain appears.
References.
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Salmacis (fountain)
Ancient fountain or spring
Salmacis or Salmakis was the name of a fountain or spring located in modern-day Bodrum, Turkey. According to some classical authors, the water had the reputation of making men effeminate, soft, and 'woman like'. Ovid famously recounts the myth in his story about Hermaphroditus and the nymph of the spring Salmacis.
History.
Salmacis was a fountain, located near the Mausoleum of Halicarnassus. In classical times, it had:
the slanderous repute, for what reason I do not know, of making effeminate all who drink from it. It seems that the effeminacy of man is laid to the charge of the air or of the water; yet it is not these, but rather riches and wanton living, that are the cause of effeminacy. —Strabo "Geography XIV.2.16"
This was illustrated by Hellenic sculptors, who produced several works depicting a person of dual-gender. The power of the spring was rejected by other Romans, such as the architect Vitruvius
there is a mistaken idea that this spring infects those who drink of it... it cannot be that the water makes men effeminate. —Vitruvius "De architectura" 2.8.12
In Book IV of his poem "Metamorphoses", Ovid recounts the myth of how the fountain came to be so in the story of the nymph Salmacis (after whom the fountain is, in this account, named), her attempted rape of Hermaphroditus, and his resultant change into an intersex being. Scholars such as Károly Kerényi have asserted that Ovid's account was not a classical one and that the story was in fact invented by him.
The Salmakis inscription.
In 1995, the so-called 'Salmakis Inscription' was discovered by Turkish authorities on the promontory of Kaplan Kalesi, which juts out into the sea to the south-west of Bodrum harbour.
The inscription is a poem sixty lines long, partly damaged but mainly well preserved, and was cut into an ancient wall sometime during the Hellenistic period. It is written in elegiac verse and the general theme is one of civilization. The first lines form the poet's invocation of the goddess Aphrodite, early in Aphrodite's story we encounter her son Hermaphroditus and the water nymph Salmacis:
The inscription also contains a list of famous authors born in Halikarnassos. First on the list being the Greek historian Herodotos. It is now being housed in the Museum of Underwater Archaeology at Bodrum Castle.
Music.
The progressive rock band Genesis tells the story in "The Fountain of Salmacis", a track from their 1971 album "Nursery Cryme".
References.
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Orontobates
Persian Satrap of Caria
Orontobates (Old Persian: , Ancient Greek: ; lived 4th century BC) was a Persian, who married the daughter of Pixodarus, the usurping satrap of Caria, and was sent by the king of Persia to succeed him.
Biography.
On the approach of Alexander the Great of Macedon, (334 BC) Orontobates and Memnon of Rhodes entrenched themselves in Halicarnassus (modern Bodrum). But at last, despairing of defending it, they set fire to the town, and under cover of the conflagration crossed over to Cos, whither they had previously removed their treasures. In addition to the island of Cos, Orontobates, retained control of the citadel at Salmacis, and the towns Myndus, Caunus, Thera and Callipolis together with Triopium.
Next year, while at Soli, Cilicia, Alexander learnt that Orontobates had been defeated in a great battle by Ptolemy and Asander. It is natural to infer that the places which Orontobates held did not long hold out after his defeat.
An officer of the name of Orontobates was present in the army of Darius III at the battle of Gaugamela (331 BC), being one of the commanders of the troops drawn from the shores of the Persian Gulf. Whether he was the same or a different person from the preceding, we have no means of knowing. We are not told that the latter was killed as well as defeated.
It is likely that Alexander the Great knew Orontobates intimately as there was a princess between the two. In his youth Alexander wanted to marry Ada II, the daughter of Pixodarus but this was negated by his father. Incidentally Orontobates married a daughter of Pixodarus, who was also called Ada and probably the same as Ada II. Thus, the relation between the two may have been far more complex than what Justin or even Plutarch knew.
References.
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Erotes
Greek love deities
In Ancient Greek religion and mythology, the Erotes (; , "érōtes") are a collective of winged gods associated with love and sexual intercourse. They are part of Aphrodite's retinue. "Erotes" is the plural of "Eros" ("Love, Desire"), who as a singular deity has a more complex mythology.
Other named Erotes are Anteros ("Love Returned"), Hedylogos ("Sweet-talk"), Hermaphroditus ("Hermaphrodite" or "Effeminate"), Himeros ("Impetuous Love" or "Pressing Desire"), Hymenaios ("Bridal-Hymn"), and Pothos ("Desire, Longing", especially for one who is absent).
The Erotes became a motif of Hellenistic art, and may appear in Roman art in the alternate form of multiple Cupids or Cupids and Psyches. In the later tradition of Western art, Erotes become indistinguishable from figures also known as Cupids, amorini, or amoretti.
General role and attributes.
The Erotes are a group of winged gods in Classical mythology. They are associated with love and sexual desire, and form part of Aphrodite's retinue. The individual Erotes are sometimes linked to particular aspects of love, and are often associated with same-sex desire. Sometimes the Erotes are regarded as manifestations of a singular god, Eros.45
Stories of the Erotes' mischief or pranks were a popular theme in Hellenistic culture, particularly in the 2nd century BCE. Spells to attract or repel Erotes were used, in order to induce love or the opposite. Different Erotes represented various facets of love or desire, such as unrequited love (Himeros), mutual love (Anteros) or longing (Pothos).133
The Erotes were usually portrayed as nude, handsome, winged youths.133 The earliest known sculptured friezes depicting a group of Erotes and winged maidens driving chariots pulled by goats, were created to decorate theatres in ancient Greece in the 2nd century BCE. The representation of Erotes in such friezes became common, including Erotes in hunting scenes.126 Due to their role in the classical mythological pantheon, the Erotes' representation is sometimes purely symbolic (indicating some form of love) or they may be portrayed as individual characters. The presence of Erotes in otherwise non-sexual images, such as of two women, has been interpreted to indicate a homoerotic subtext. In the cult of Aphrodite in Anatolia, iconographic images of the goddess with three Erotes symbolized the three realms over which she had dominion: the Earth, sky, and water.
Retinue members.
Groups of numerous Erotes are portrayed in ancient Greek and Roman art. In addition, a number of named gods have been regarded as Erotes, sometimes being assigned particular associations with aspects of love.
Anteros.
Anteros (Greek: Ἀντέρως, "Antérōs") was the god of requited love, literally "love returned" or "counterpart love". He punished those who scorned love and the advances of others, and was the avenger of unrequited love. Anteros was the son of Ares and Aphrodite in Greek mythology, and given to his brother Eros as a playmate because Eros was lonely. In another version, Anteros arose from mutual feelings between Poseidon and Nerites. Physically, Anteros was depicted as similar to Eros in every way, though sometimes with longer hair and butterfly wings. He has been described as armed with either a golden club or arrows of lead.
Eros.
Eros was the original, primordial god of love and intercourse; he was also worshiped as a fertility deity. His Roman counterpart was Cupid (desire).
In later myths, he was the son of the deities Aphrodite and Ares: It is the Eros of these later myths who is one of the erotes. Eros was associated with athleticism, with statues erected in "gymnasia",132 and "was often regarded as the protector of homosexual love between men."132 Eros was depicted as often carrying a lyre or bow and arrow. He was also depicted accompanied by dolphins, flutes, roosters, roses, and torches.
132
Hedylogos.
Hedylogos or Hedylogus () was the god of sweet-talk and flattery. He is not mentioned in any surviving literature, but he is depicted on ancient Greek vase paintings.
Hermaphroditus.
Hermaphroditus was the god of hermaphrodites, effeminacy and androgyny. He was the son of Hermes and Aphrodite. Born a remarkably handsome boy but after the water nymph Salmacis fell in love with him and she prayed to be united forever, their two forms merged into one.
Himeros.
Himeros (Greek: "uncontrollable desire", Latin: "Himerus") represented desire and unrequited love.40 Himeros was identified by his carrying a "taenia", a colourful headband worn by athletes.178 Hesiod's Theogony says that he accompanied Aphrodite to the Gods, alongside Eros.
Hymenaeus / Hymen.
Hymenaeus () or Hymen () was the god of weddings and marriage.
Pothos.
Pothos (Greek: , "yearning", "desire") was one of Aphrodite's erotes and brother to Himeros and Eros. In some versions of myth, Pothos is the son of Eros, or is portrayed as an independent aspect of him.270 Yet others called him son of Zephyrus and Iris. He was part of Aphrodite's retinue, and carried a vine, indicating a connection to wine or the god Dionysus. Pothos represents longing or yearning.
40 In the temple of Aphrodite at Megara, there was a sculpture that represented Pothos together with Eros and Himeros which has been credited to Scopas.
Phthonus.
Sometime counted among the Erotes or at least among Aphrodite's retinue, Phthonus was the personification of jealousy and envy, most prominently in matters of romance.
References.
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Salmacis (genus)
Salmacis is the genus of sea urchins in the family Temnopleuridae. Members of "Salmacis" are found primarily in tropical and subtropical marine waters across the Indo-Pacific region, including coastal areas of Indonesia, Malaysia, Philippines, Singapore, Thailand, Vietnam, Sri Lanka, India, Australia, and parts of East Africa. Some habitats include shallow waters of seagrass meadows, sandy substrates, and coral reefs. They can be found at depths ranging from intertidal zones to 50 meters below sea level.
Like other sea urchins in the class Echinoidea, "Salmacis" have an omnivorous diet that comprises of algae and soft-bodied organisms like sea pens and jellyfish. Their bodies are covered with short, thick spines, and pedicellariae to deter predators. They are dioecious with separate male and female sexes. "Salmacis" sea urchins reproduce through external fertilization, releasing sperm and eggs into their surrounding environments. Their gonads serve both reproduction and nutrient storage functions.
Species.
These are species according to the Global Biodiversity Information Facility and World Register of Marine Species. Species like "Salmacis sphaeroides" and "Salmacis bicolor" are distributed across the Indo-Pacific Ocean, scattered across coastal areas in Southern China, Southern Japan, Vietnam, Malaysia, and Singapore. "Salmacis virgulata" was found and recorded in Sri Lanka. "Salmacis belli" can be found along the coasts of Northern Australia.

Tarick Salmaci
American boxer
Tarick Salmaci (born February 28, 1972) is a Lebanese-American former professional boxer and North American Boxing Organization (NABO) middleweight champion. He was one of 16 boxers chosen worldwide to participate on season 1 of NBC's reality television series "The Contender".
Boxing.
Amateur career.
Salmaci began his boxing career at the age of 8 at Kronk Gym in Detroit. He compiled an amateur record of 136–12, and earned a spot in the Olympic Trials where he fought his way to the finals, just missing the U.S. Olympic team.
Professional career.
Salmaci turned professional after the Olympic Trials and signed with manager Jackie Kallen.
Salmaci won the North American Boxing Organization's super middleweight title on March 11, 1997, in Phoenix, Arizona. He then signed to fight Joe Calzaghe for the WBO super middleweight championship but pulled out of the fight after a dispute with his management.
Salmaci won his first eighteen professional bouts and finished his career in May 2005 with an overall record of nineteen wins and three losses.
Acting.
In the first season of NBC's reality show "The Contender", Salmaci was one of 16 fighters chosen worldwide to participate on the show, Although Salmaci lost in the first round of the show's tournament, he was voted back as a "fan favorite" to fight once more.
Personal life.
Salmaci has a Bachelor of Arts degree from the University of Michigan. He also invests in real estate development. He is married and has one daughter.
References.
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Thomas Peend
16th-century English Translator
Thomas Peend or Delapeend ("fl." 1556–1577) was a Tudor poet and lawyer. He is chiefly remembered as the author-translator of "A Pleasant Fable of Hermaphroditus and Salmacis" (1565).
Family.
Thomas Peend was the son of John Peend of Leeds, near Maidstone in Kent. When he wrote his will in 1570, Edward Pynde of Hollingbourne, a few miles north of Leeds, named Thomas Peend of Leeds as his cousin. Finally, when Peend dedicated "A Most Notable History of John, Lord Mandozze" (1565) to sir Thomas Kempe of Wye, Kent (1517–1591), he called Kempe his kinsman.
School, university, inns of court.
Peend was recorded as a scholar at King’s School, Canterbury, in 1556. The master was the antiquary John Tywne (d. 1581); and one of Peend’s class-mates was Twyne’s son, Lawrence Twyne, who would go on to write "The Pattern of Painful Adventures" (1576), a source for Shakespeare’s Pericles. Peend matriculated as a pensioner (fee-paying student) at Christ’s College, Cambridge, in 1559. He is not known to have taken a degree. He may also have attended Oxford. On 15 May 1564, he was admitted to the Middle Temple in London, one of the four law schools known as the Inns of Court. It was now that he wrote "A Pleasant Fable of Hermaphroditus" "and Salmacis" and "A Most Notable History of John, Lord Mandozze". He was briefly expelled from the Middle Temple in the winter of 1566/67 for wounding a fellow-member, Andrew Hemerford (d. c. 1581). In 1577, he was one of those appointed to provide for the Reader’s Feast at the inn; and that is the last we hear of Thomas Peend.
Works.
"A Pleasant Fable of Hermaphroditus and Salmacis" (1565).
Author-translator of "A Pleasant Fable of Hermaphroditus and Salmacis". The book was printed by Thomas Colwell in December 1565. Peend dedicated the work to Nicholas St Leger of Ulcombe, a few miles south of Leeds. He signs it thus : ‘From my chamber over against Serjeants’ Inn in Chancery Lane. 1564’. The book has four parts : I. ‘A Pleasant Fable of Hermaphroditus and Salmacis’ | II. ‘The Moral’ | III. ‘A Pleasant Question’ (namely : Why did the beautiful Venus sleep with the ugly Vulcan?) | IV. A glossary of names and places. All are in verse, except the glossary.
Peend tells St Leger that he had started work on a translation of Ovid’s "Metamormorposes", but that he gave it up when he learned that somebody else was working on the same project. He means Arthur Golding, whose translation of the first four books of the "Metamorphoses" appeared in 1565. Peend salvaged some of his original work by rewriting the fable of Hermaphroditus from book IV of the "Metamorphoses", enlarging it with his own work very considerably. He also added a moral explanation of its meaning. Later, he added the ‘Pleasant Question’ and the glossary.
"A Most Notable History of John, Lord Mandozze" (1565).
Author-translator of "A Most Notable History of John, Lord Mandozze". The book was printed by Thomas Colwell in 1565. Peend dedicated the work to sir Thomas Kempe of Wye, Kent, whom he claims as his kinsman. This time it is signed : ‘From the Middle Temple’. Peend also wrote a verse preface ‘To the Reader’. The single surviving copy of the book is a fragment, and about half of the story is missing. It is a greatly enlarged translation of the sixth story in Pierre Boaistuau’s "Histoires tragiques" (1559). Boaistuau claimed that he took the story directly from a Spanish source written by 'Valentinus Barruchius'. Boaistuau in fact translated and enlarged the tale as he found in it the "Novelle" of Matteo Bandello. Peend’s translation is in verse.
Poem for Studley's Agamemnon (1566).
Author of ‘To the Reader : Thomas Delapeend in the Writer’s Behalf’. This is a poem defending and commending John Studley and his translation of Seneca’s tragedy "Agamemnon" (1566). Peend and Studley may have met at Cambridge, for the latter matriculated at Trinity College in 1561, only two years after Peend went up to Christ’s.
References.
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Salmacis bicolor
Species of sea urchin
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Salmacis bicolor is a species of sea urchin in the Temnopleuroida family Temnopleuridae found in the western Indian Ocean and the Red Sea. the name derives from Salmacis (Ancient Greek: 'Σαλμακίς'), a nymph of Greek mythology, and latin 'bicolor' (two-coloured).
References.
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Salmacis (disambiguation)
Salmacis or Salmakis (), was a naiad in Greek mythology.
Salmacis or Salmakis may also refer to:
Topics referred to by the same term
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 This page lists associated with the title .

Scleromystax salmacis
Species of fish
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Scleromystax salmacis is a species of catfish of the family Callichthyidae. "S. salmacis" has the southernmost distribution of its genus. It is known from the Mampituba River and Araranguá River basins in southern Santa Catarina State of Brazil, and the Ratones River, a small coastal river drainage in Florianópolis.
References.
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Don't You (Forget About Me)
1985 single by Simple Minds
"Don't You (Forget About Me)" is a song by the Scottish rock band Simple Minds, released as a single in 1985. It was written and composed by the record producer Keith Forsey and the guitarist Steve Schiff for the film "The Breakfast Club" (1985). Simple Minds initially declined to record it, preferring to record their own material, but accepted after several other acts also declined.
"Don't You (Forget About Me)" became a breakout hit for Simple Minds, an iconic song and a 1980s anthem. The single reached No. 1 in the United States and Canada, becoming Simple Minds' biggest hit in the United States. It also reached No. 7 on the UK Singles Chart and reached the top ten in charts around the world.
Recording.
"Don't You (Forget About Me)" was written by Steve Schiff and Keith Forsey for the film "The Breakfast Club" (1985). Forsey and Schiff were inspired by a scene in which an introvert and a school bully bond while no one else is watching. Forsey said, "It was: don't forget, when we're back in the classroom, you're not just a bad guy and we've got other things in common."
Simple Minds initially declined to record "Don't You (Forget About Me)", as they felt they should only record their own material. Their guitarist, Charlie Burchill, said they felt it did not suit them as "we had delusions of being ultra-hip". Their manager, Bruce Findlay, believed it would be successful in the United States. He arranged a private screening of "The Breakfast Club" in an effort to change their minds, but they still declined. Their lead vocalist, Jim Kerr, said later: "We couldn't give a toss about teenage American schoolkids."
Forsey offered "Don't You (Forget About Me)" to Bryan Ferry of Roxy Music, who declined as he was working on his album "Boys and Girls" (1985). Ferry said later: "It was just bad timing ... Keith Forsey sent me a demo of the song and it sounded like a hit to me." The record label, A&M, suggested Corey Hart, who had a hit at the time with "Sunglasses at Night", but Forsey did not think he was the right singer. Forsey's frequent collaborator Billy Idol also declined.
Kerr's wife, the songwriter Chrissie Hynde of the Pretenders, liked the song and urged him to record it. Simple Minds agreed to try it after spending a few days with Forsey and becoming friends. They were impressed by Forsey's work in German experimental music, such as Amon Düül II, and his work with Giorgio Moroder, including "I Feel Love" by Donna Summer.
Kerr added the "hey hey hey" to the introduction and the "la la la" to the ending, intending to write new lyrics, but Forsey insisted on keeping them. Burchill added power chords, and said later: "It was almost a caricature – I associated powerchords with American AOR. But it worked." The "Financial Times" wrote that the chords "[helped] turn Forsey's sweet paean to teenage longing into a rousing, stadium-sized anthem".
Simple Minds did not anticipate the song's success. In 2016, Burchill said: "When I listen to it now, it’s obviously a brilliant, well-crafted pop song. I’m embarrassed we dissed it so much."
Release and critical reception.
"Don't You (Forget About Me)" was played during the opening and closing credits of "The Breakfast Club" (1985). It was included on the film's soundtrack. "Don't You (Forget About Me)" was released as a single in February 1985 in the United States and reached No. 1 on the "Billboard" Hot 100 in May 1985. The song reached No. 1 in Canada in June 1985. It is the band's only number-one hit on the US Top Rock Tracks chart, staying atop that chart for three weeks. The song became Simple Minds' breakout hit, as well as its biggest American hit.
"Cashbox" said that "though the lyric theme is a simple enough declaration, the lead vocals and vivid orchestration make the tune complex and moving". The song was included on the band's greatest hits compilation album, "Glittering Prize 81/92" (1992). It soon became a fixture of the band's live sets, with an extended audience participation section during its inclusion on the 2015 tour to promote the band's "Big Music" album.
John Leland of "Spin" described the song as "a romantic and melancholy dance track" that "cuts ice both in the living room and on the dance floor". The song has become iconic, and has been described by AmericanSongwriter.com as "an ‘80s masterpiece" and "an American teen anthem".
Cover versions.
In February 2021, indie folk band Boy & Bear along with Annie Hamilton covered "Don't You (Forget About Me)" for Australian youth radio station Triple J's "Like a Version". The cover placed 92nd in Triple J's first Like a Version Hottest 100. Billy Idol also covered the song as an add-on track to his "Greatest Hits" album in 2001.
Music video.
The music video – filmed inside Knebworth House, Hertfordshire, England – was directed by Daniel Kleinman. It takes place in a darkened room with a chandelier, a rocking horse, a jukebox, and television sets displaying scenes from "The Breakfast Club". The room gets increasingly cluttered with random objects as the video progresses until the last minute. The video was published on YouTube on 3 December 2010; as of February 2025, it had been viewed more than 358 million times.
Charts.
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Personnel.
Simple Minds
References.
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Don't Forget About Us
2005 single by Mariah Carey
"Don't Forget About Us" is a song by American R&B singer-songwriter Mariah Carey. It was written by Carey, Jermaine Dupri, Bryan-Michael Cox and Johntá Austin, and produced by Carey, Dupri and Cox. On October 10, 2005, it was released as the lead single from the reissue of her tenth studio album, "The Emancipation of Mimi:" "Ultra Platinum Edition" (2005). The song is influenced by R&B and hip hop soul music genres, and lyrically chronicles the emotions felt by the protagonist after the loss of their relationship. Carey explained that the true meaning of the song is to be interpreted by the listener, therefore not disclosing its entire meaning publicly.
The song received generally positive reviews from music critics, with many heavily comparing it to Carey's previous single "We Belong Together". Several reviewers felt the song's similarity marked Carey's lack of creativity with it, while others embraced its radio-friendly formula. "Don't Forget About Us" became Carey's seventeenth chart topping single on the US "Billboard" Hot 100, tying the record for most number-one singles by a solo artist set by Elvis Presley 36 years before. Internationally, the song topped the charts in Finland, and reached the top-ten in Hungary.
Carey performed the song at the 33rd Annual American Music Awards, and during the half-time of the Thanksgiving game between the Detroit Lions and the Atlanta Falcons. Additionally, the song was included on the set-lists of Carey's The Adventures of Mimi and Angels Advocate Tours. The song's music video chronicles the two time frames, Carey in the present, as well as the past memories she shared with her ex-lover that continue to haunt her. "Don't Forget About Us" was nominated for two awards at the 49th annual Grammy Awards held on February 11, 2007.
Background and release.
After being branded Carey's "comeback album" by music critics, and becoming the highest selling album of her career post-"Glitter" (2001), "The Emancipation of Mimi" inspired Carey to return to the studio, in hopes of writing and producing new material for her next studio album. During a writing session with Jermaine Dupri, Carey wrote "Don't Forget About Us" as a possible single for her next album, reminiscent of the material on "The Emancipation of Mimi". After hearing the unfinished version of the song, L.A. Reid, CEO at the time of Carey's label Island Records, was very satisfied with the song. He convinced Carey to continue writing and producing new songs, and suggested on re-releasing the album, which had already sold over four million units in the United States alone. Carey agreed to the idea of re-releasing "The Emancipation of Mimi", feeling eager to release the song, as well as other material to her fans, instead of making them wait for a brand new album. In an interview with MTV News, Carey discussed the decision of releasing the song immediately, as well as the re-release of the album:
'Don't Forget About Us' was a song that Jermaine [Dupri] and I started writing and didn't finish, and L.A. Reid heard it. He was excited about it and he was like, 'We should re-release the album. I agreed because were trying to figure out what to do with the song because we loved it so much, and we didn't want to wait until the next album to send it to radio.
After completing the song, Carey announced on October 13, 2005, via her official website, that she would be re-releasing "The Emancipation of Mimi". Additionally, she explained how the album would contain four new songs, and would be promoted internationally by the new single, "Don't Forget About Us". The song was released throughout the globe as the fifth official single from "The Emancipation of Mimi", and the first from the re-release, tentatively titled, "Ultra Platinum Edition". The song was first serviced to American contemporary hit, rhythmic contemporary, and urban contemporary radio stations on October 10, 2005. In Australia, a CD single was issued on December 5, 2005. The following Monday, on December 12, a CD single was issued in the United Kingdom. On January 27, 2006, a CD was released in Austria and Germany. A release in Italy followed on February 6 and in Taiwan on February 17. On January 29, 2021, an EP was issued.
Composition.
"Don't Forget About Us" is a mid-tempo song lasting three minutes and fifty-three seconds, while drawing influence from pop and R&B with downtempo beats music genres. Written by Carey, Jermaine Dupri, Bryan-Michael Cox and Johntá Austin, and produced by the former three, the song drew comparisons to Carey's "We Belong Together". According to Michael Paoletta from "Billboard", the song features a similar tempo, lyrical style, instrumentation and production as the latter song, and incorporates a reminiscent vocal performance from Carey. The song is in the key of B♭ major and has a "moderately slow" tempo of 72 beats per minute. Carey's vocal range spans three octaves and six semitones from the low-note of D3 to the high-note of A♭6. Lyrically, the song describes the potency of a "first love", and features a protagonist pleading to her lover to "not forget about them". Critics noted that the song's lyrics both let go of a lover, as well as cherishing their memory. Carey sings, "You just let it die / With no goodbyes", indicating a relationship that has long decayed, and how she has let it drift away, while also adding, "There's only one me and you / And how we used to shine / No matter what you go through / We are one, that's a fact that you can't deny", indicating that while they are no longer together, she will continue to cherish the memory of them and how strong their love was. According to Carey, she refrained from giving away too much of the song's lyrical meaning, in order to allow fans to possibly interpret the song in their own way:
I try not to get too specific so that people can apply the lyrics to their own lives. When I was growing up and listening to the radio and I would hear a song that reminded me of a certain person or a situation or whatever, I would want to be able to completely connect it to that moment. And then if I heard someone explaining it and making it into something totally different, it ruined it for me. So I kind of like to keep it open for people's imaginations. It evokes something different depending on who listens to it and at what time. "Don't Forget About Us" could give you a good, happy memory, or you could be miserable, crying, listening to it over and over. All in all, I think it's good to have music you can live vicariously through, and that's what a lot of people have told me this record has been for them.
Critical reception.
"Don't Forget About Us" garnered generally positive reviews from music critics, though many compared it to, and felt it shared several similarities with Carey's previous single, "We Belong Together". Bill Lamb from About.com rated the song four out of five stars, who while noting the song's careful formula, complimented Carey's more mature and lower range vocals: "Mariah is clearly settling into a more mature style and lower range vocals than in her early career." Additionally, Lamb commented that although not as "strong" as "We Belong Together", the song was marginally better than another single from "The Emancipation of Mimi", "Shake It Off". "Billboard"'s Michael Paoletta drew heavy comparisons to "We Belong Together", noting the song's similar tempo, lyrical style, instrumentation and vocal stamp. He commented that although "Don't Forget About Us" was "satisfying" on its own, it suggested that Carey had hit a creative wall. Andre Meyer from CBC News described the song as "stronger" than anything Carey released from 2001 to 2005, and wrote "[It] cops the jittery R&B vibe that made Destiny's Child so potent." Reviewers from "The New Yorker" and "Music Week" were both taken aback by the single, calling it "beautiful" and "gentle", respectively. Todd Martens from the "Los Angeles Times" compared it heavily to Carey's 2008 single "Bye Bye", describing their piano melody as "a close match". In 2007, "Don't Forget About Us" was nominated for two Grammy Awards, in the "Best Female R&B Vocal Performance" and "Best R&B Song" categories, although not winning either.
Chart performance.
"Don't Forget About Us" was released as the fourth international single from "The Emancipation of Mimi" (2005), and the first from its re-release, the "Ultra Platinum Edition". The song reached the top of the "Billboard" Hot 100 in its eleventh week, spending two consecutive weeks at the position. "Don't Forget About Us" became Carey's 17th chart-topping single in the United States, tying the record set by Elvis Presley for most number-one singles by a solo artist (Carey has since surpassed this record with "Touch My Body" in 2008 and "All I Want for Christmas is You" in 2019.) Currently, the only act to hold more US number-one singles than Carey are The Beatles, who gained twenty throughout their career while Carey has accumulated 19 to date. "Don't Forget About Us" stayed in the top forty for eighteen weeks and reached number one on other "Billboard" component charts, including the Hot R&B/Hip-Hop Songs. The song was certified Platinum by the Recording Industry Association of America (RIAA), denoting shipments of over 1,000,000 units.
Outside the United States, the song achieved moderate international charting. In Australia, "Don't Forget About Us" debuted at its peak position of number twelve on the singles chart, during the week of December 18, 2005. In its second week, the song stalled at number twelve, before beginning its eleven-week descent on the chart. In Finland, "Don't Forget About Us" peaked at number one, becoming Carey's second number-one single in that country and first since "Anytime You Need a Friend" (1994). On the Italian singles charts, the song charted for only one week, peaking at number eleven. In both the Wallonian and Flemish territories in Belgium, the song peaked at numbers two and one, although plummeting outside the top-fifty the following week. On the Dutch Top 40 chart, "Don't Forget About Us" debuted at number ninety-two during the week dated February 2, 2006. Spending one week at its peak position of number four, the song dropped to thirty-two the following week. In New Zealand, it peaked at number twelve, and spent a total of four weeks fluctuating in the singles chart. Similarly on February 26, 2006, the song debuted and peaked at number nineteen on the Swiss Singles Chart, and spent a total of five weeks on the chart. On the UK Singles Chart week dated December 12, 2005, "Don't Forget About Us" began its seven-week run at its peak of number eleven.
Music video.
Background.
Filmed in Los Angeles, the music video reunited Carey with Paul Hunter, director of the video for her 1997 single, "Honey". Since its release, Carey claimed it to be one of her favorite videos, due to its complex scenery and fun nature. She explained that she had wanted to work with Hunter again for some time, and was happy to be able to film another music video alongside him. In an interview with MTV News, Carey described her feelings regarding the video, as well as sentiments towards the video's director, Hunter: "But I was so happy to work with him again 'cause ever since 'Honey' I've been trying to relive the splendor of that moment. It's more of just a plain beauty piece with sentimental overtones, but it was great to work with Paul again." Following a tale of love and separation, the video alternates between two different time frames. The first of these involves a tearful Carey in the present, while the second invokes memories of a relationship with a former lover (played by Dolce & Gabbana model Christian Monzon). When questioned regarding a possible relationship with Monzon, Carey said "Erm, how do we play this? OK, he's a very nice guy, he's been in a fabulous Dolce & Gabbana advert - did you see it? And we've had some nice conversations and, um, a nice time. OK, I'll say he definitely did a very good job in the video." Additionally, Carey and Hunter placed several secrets within the video's scenery, that would be intended for the "die-hard fans". Following the video's completion, it premiered on MTV and several other music video channels on November 1, 2005. Aside from the video's script, Carey channeled Marilyn Monroe, one of her icons growing up. During a pool scene, Carey re-enacts a part from Monroe's film "Something's Got to Give" (1962). In an interview with MTV News, Carey spoke of the re-enactment:
That shot was totally and completely inspired by 'Something's Got to Give,' Marilyn Monroe's last movie that never got finished. It's an homage to her, because I've never seen anyone re-create it. So many people have emulated so many of Marilyn's classic moments, but it's just that I'm a big fan of hers, and I thought it was really pretty at night with the pool. No one could ever be as fabulous as Marilyn was, but it's in honor and homage to her.
Synopsis.
The music video chronicles two alternative time frames, with the first of Carey in the present, tearful and remorseful their separation, while the other of several different past memories in which she shared with her lover. The video begins with Carey wearing a long brown blouse, laying on a sofa in an elegantly furnished home. As the song begins, she stands up and walks around the living room, while remembering and lamenting her failed relationship. As the first memory of Carey and her lover together on a soccer field is shown, she is once again shown in the present, however clothed in a large white sweater while tears trickle down her cheek. As the memory continues of that night on the soccer field, they are seen together, caressing each other and holding each other in a tight embrace. Carey, in the present, makes her way into a heated pool, where she lays her leg on the deck, re-enacting a famed scene from Marilyn Monroe's unreleased film, "Something's Got to Give" (1962). The next memory is of the pair together in the same pool, however in happier times. During the song's bridge, the scenes alternate from Carey at her home in the present, to the duo holding each other intimately in a car. The video ends with Carey alone in the car, while wearing her lover's jacket.
Chart performance.
"Don't Forget About Us" music video peaked at #1 on Billboard's Hot Videoclip Tracks chart.
Remixes.
The main remix of "Don't Forget About Us" was produced by Jermaine Dupri and is known as the Mr. Dupri mix. It features guest appearances from rappers Juelz Santana, Krayzie Bone and Layzie Bone. The Mr. Dupri mix was added to iTunes Music Store for download, while several dance remixes (by Ralphi Rosario & Craig J., Quentin Harris and Tony Moran & Warren Rigg) were produced and made available for sale at other download retailers. In January 2006, a new remix titled the Desert Storm remix, produced by DJ Clue (who also remixed "We Belong Together" and "Shake It Off") featuring Styles P and Fabolous, was released to U.S. radio. This remix appeared on DJ Clue's album "Fidel Cashflow 2006". A video was also helmed for the Desert Storm mix and can be found on Clue's official MySpace page; it has shots of Carey, Styles P, DJ Clue and Fabolous in the studio and enjoying themselves.
Live performances.
Carey performed "Don't Forget About Us" on several televised appearances, as well on all of her tours following its release. On November 15, 2005, the "Chicago Tribune" announced that Carey would perform during the half-time on the Thanksgiving game between the Detroit Lions and the Atlanta Falcons. Airing on the 24th, Carey performed "Shake It Off", as well as her newly released single from the album's re-release, "Don't Forget About Us". On November 22, 2005, Carey opened the 33rd annual American Music Awards with a performance of "Don't Forget About Us", held at the Shrine Auditorium in Los Angeles. Appearing on stage in a "sequined, silver, spaghetti-strap gown slit to the waist", Carey completed the song before accepting the first award of the evening. Dave West from Digital Spy described it as a "blistering performance", and claimed Carey "wowed" the crowd with her live rendition of the song. Two months later, she celebrated the new year on television, placing as the featured performer at the Times Square Ball drop on New Year's Eve in New York. The special, titled Dick Clark's New Year's Rockin' Eve with Ryan Seacrest, aired on ABC at 10 pm on December 31, and featured Carey on stage wearing a short sparkling dress, and performing a selection of the album's singles.
On Carey's 2006 The Adventures of Mimi Tour stop at Madison Square Garden, she sang "Don't Forget About Us" while wearing a sparkling bikini top and black leggings. She introduced the song as a "thank you" to fans for "making this my 17th number one single". Four years later during Carey's Angels Advocate Tour in 2010, she had not performed the song on the first few runs of the tour. At the show in Phoenix, she told the crowd that she had forgotten the song until that night: "I had forgotten about this song the whole tour and I don't know why. Funny I should forget it, considering the title." Dressed in a "form-fitting short dress with a flared, tutu-like bottom" for the first portion of the night, Carey completed the song as the fourth on the set-list.
Formats and track listings.
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Credits and personnel.
Credits are adapted from "The Emancipation of Mimi" liner notes.
Charts.
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Don't Forget
2008 studio album by Demi Lovato
Don't Forget is the debut studio album by American singer Demi Lovato. It was released on September 23, 2008, by Hollywood Records. She started working on the album in September 2007, while filming the Disney Channel original movie "Camp Rock". Lovato co-wrote most of the songs with the Jonas Brothers, who produced the album along with John Fields. Other songwriters include Kara DioGuardi, Jason Reeves and Rooney frontman Robert Schwartzman. "Don't Forget" features primarily a power pop and rock sound, with the lyrical content addressing adolescent topics including heartbreak and independence.
The album was met with generally positive reviews from critics, many of whom noted distinctive similarities with the works of the Jonas Brothers. "Don't Forget" debuted at number two on the US "Billboard" 200 and was eventually certified gold by the Recording Industry Association of America (RIAA). It has sold over 540,000 copies in the country. Elsewhere, "Don't Forget" reached the top 10 on the Canadian Albums Chart and reached the top 40 in Spain and New Zealand.
"Get Back" was released as the lead single from the album and reached number 43 on the US "Billboard" Hot 100. "La La Land" was the second single from the album, peaking at number 52 in the United States and inside the top 40 in Ireland and the United Kingdom. The third single, its title track, reached number 41 in the US. "Don't Forget" was further promoted by the tour .
Background.
At 15 years old, Lovato was discovered by Disney Channel during an open call audition in her hometown of Dallas, Texas and made her debut on the short series "As the Bell Rings" in 2007. Lovato subsequently auditioned for a role on the television series "Jonas", but did not get the part. Instead, Lovato received the lead role in the musical film "Camp Rock" after she impressed network executives. Later, Lovato auditioned for a role on the series "Sonny with a Chance", which Lovato also received. For "Camp Rock", Lovato submitted an audition tape and Gary Marsh, Disney's president of entertainment, asked her to sing. Lovato recalled that "They kind of put me on the spot. I don't mind it. When people put me on the spot, it's kind of like, 'Hey, I'm not going to get nervous. I'm just going to do what I do.' So I did what I did." Lovato performed Christina Aguilera's "Ain't No Other Man" and Hollywood Records senior vice president Bob Cavallo said that their "jaws just dropped". The stunt resulted in Lovato receiving the lead role in "Camp Rock", and a record deal with the label in early 2008.
Lovato enlisted her "Camp Rock" co-stars the Jonas Brothers to work with her on the album. Lovato said that it was "important" to include them on the album as the singer "would love to have their input anytime". Lovato felt that she needed help with the writing process as she tended to write songs that were "a little bit more intense and less catchy". With the album, Lovato wanted to establish herself as a musician; Lovato did not just want to be known as "the girl from "Camp Rock"". Lovato explained that her goal was to have fun with the album and that she would include deeper themes on her sophomore effort, stating: "You won't necessarily find a lot of [dark songs] on the album, but hopefully you will on the next album. It's my first one, so I wanted it to be fun — stuff you can drive around in your car to and jam out to."
Development.
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"Writing songs is what I turn to when I'm really upset or in a really good mood. Sometimes people listen to my music and they're like, 'Wow, that's intense. Go to therapy.' But you know, it's a result of how much I've been through. Just because you're on Disney Channel and you always have a smile on your face, they think you're perfect, and it's obvious that nobody's life really is."
—Demi Lovato on her songwriting
In September 2007, Lovato began writing the songs with the Jonas Brothers, during the filming of "Camp Rock". In early 2008, they co-wrote ten songs in a week during the band's Look Me in the Eyes Tour. Lovato said, "I wrote it with them and they helped me. They obviously knew the situation, and then we got on the bus one night — songs just started pouring out." Before the tour's European leg, they went to the studio where the band co-produced the songs with John Fields. Speaking of the experience of co-producing, Nick Jonas said: "Being able to co-produce was really cool and definitely something we'll be doing a lot more of." Nick also complimented working with Lovato. The album was recorded in ten and a half days in Fields' home studio in May 2008.
The inspiration behind "Get Back", a Jonas-penned track, was Lovato not wanting to write a mean or heartbroken song as she felt that there was enough of them. Instead, Lovato wanted to write about getting back together with an old boyfriend. "It's kind of a fun, upbeat song and it's kind of just fun to sing to the person that I wrote it about", Lovato said of the song. "La La Land" was written by Lovato and the Jonas Brothers about "the pressures of fame". Lovato said, "You get to Hollywood and a lot of times people can try to shape you and mould you into what they want you to be. The song is just about keeping it real and trying to stay yourself when you're out in Hollywood". "Don't Forget", was written by Lovato and the Jonas Brothers, the song is about Lovato's experience of falling in love with someone who "just walks away and goes somewhere else". "I went through an experience like that and wanted to write about it. I got over it, and now a year later I don't have those feelings about that person anymore", Lovato said. Musical influences for the album included Paramore, Kelly Clarkson, Christina Aguilera, Billy Gillman, Aretha Franklin and Gladys Knight.
The album's final track listing consisted of six songs co-written by the Jonas Brothers, including the duet "On the Line". The remainder of the album was produced by Fields. Lovato enlisted Rooney frontman Robert Coppola Schwartzman for the track "Party", stating that Lovato put their "musical input and lyrics" into the song and Schwartzman helped Lovato, mainly on the hook. Lovato wrote the song "Trainwreck" alone and co-wrote most of the remaining tracks, except for "The Middle", written by Fields, Kara DioGuardi and Jason Reeves, and "Until You're Mine", written by Andy Dodd and Adam Watts.
Composition.
The songs of "Don't Forget" draws from power pop and rock music genres. Stephen Thomas Erlewine of Allmusic wrote that it includes "bright, sugary, snappy power pop, fueled by big, fuzzy guitars and big, muscular hooks." As most of the album was co-written and co-produced by the Jonas Brothers, critics noted a similar sound between the artists. Erlewine noted that, unlike the Jonas Brothers' album "A Little Bit Longer", the album does not attempt to draw an audience broader than the tween demographic, calling it "pure, unapologetic bubblegum". The lyrics of the songs deal with teen issues, such as being independent or heartbroken. Digital Spy's Nick Levine wrote that recurring themes include; "staying true to yourself, making up and breaking up, [and] lusting over someone unattainable." The opening track, "La La Land", is about Lovato feeling "out of place" in Hollywood, demonstrated in the verses, "Who said I can't wear my Converse with my dress?", and "I'm not a supermodel, I still eat McDonald's."
The next track, "Get Back", is a guitar-driven upbeat 1980s power pop song. The track speaks of wanting to get back together with an old boyfriend. "On the Line", a duet with the Jonas Brothers, is a breakup song described as bubblegum with a "fizzy" singalong hook. "Don't Forget", shows a transition from the album's tween pop into more mature glam rock. The song is a midtempo power ballad and features Lovato singing with breathy vocals in a falsetto tone. According to Joey Guerra of "Houston Chronicle", "Trainwreck" and "Gonna Get Caught" include Beatles-esque melodies. "Trainwreck" contains references to medication. "Two Worlds Collide" is about a young couple who finds strength from their shared dreams. The ninth track, "The Middle", is about Lovato being eager to go for a ride with a guy, and willing to "crash" and "fall" just for the thrill of it. In "Until You're Mine", Lovato is desperate to "fill an emotional vacancy with a boy". Michael Slezak of "Entertainment Weekly" wrote that the closing track, "Believe in Me", includes "platitudes that might as well have been penned by "Dora the Explorer"."
Promotion.
As a part of promotion, Lovato performed tracks from the album on several televised appearances and occasions. Lovato performed "Get Back" for the first time at the 2008 Disney Channel Games on May 3, 2008. Later, Lovato performed the same song in "Good Morning America" and "The Ellen DeGeneres Show". Later on January 19, 2009, she performed "Get Back" and "La La Land" at the event on January 19, 2009, in Washington D.C. at the Verizon Center. The event was held to celebrate the inauguration of Barack Obama as President of the United States. On April 7, 2009, Lovato performed "La La Land" on the eighth season of "Dancing with the Stars". The same month, Lovato also performed "Don't Forget" on "The Ellen DeGeneres Show". On April 25, 2009, Lovato appeared on the final episode of singing competition "My Camp Rock", where she presented the award to the winner and performed "La La Land".
Apart from the live performances, Lovato embarked on her first headlining tour Demi Live! Warm Up Tour in 2008 and continued with in 2009, with dates in North America. After days of speculation on blogs and fansites, it was confirmed on April 15, 2009 that David Archuleta would serve as the tour's opening act. Lovato announced it on her Myspace blog, where Lovato also wrote, "I'm so excited about headlining my own tour. I love life on the road. I'm in a different city every night, and it never gets old." Singer Jordan Pruitt and girl group KSM joined on select dates. Tickets for the tour went on sale on April 25, 2009, and a special pre-sale offer was made available through Lovato's newly-launched official fan club on April 15. Lovato said of the tour, "I've always dreamed of headlining my own tour, and it's so exciting to have that dream come true. I'm looking forward to seeing all my incredible and supportive fans, and play new music for them." The tour launched on June 21, 2009 at XL Center in Hartford, Connecticut and was originally supposed to run forty-seven dates through August. The last three dates were rescheduled for October and November 200