"Take On Me" is a song by the Norwegian synth-pop band A-ha. The original version from 1984 was produced by Tony Mansfield and remixed by John Ratcliff. The 1985 international hit version was produced by Alan Tarney for the group's debut studio album, Hunting High and Low.
In 1984, Andrew Wickham was the international vice-president for Warner Bros Records America, and their A&R man in London. He immediately signed A-ha to Warner Brothers America, after learning several previous attempts had failed to make "Take On Me" a commercial success. The next release was not successful either and featured a very ordinary performance video. He authorised considerable investment in the band: on Slater's recommendation, renowned producer Alan Tarney was commissioned to refine the song. The new recording achieved a cleaner and more soaring sound. It was re-released in the UK, but the record label's office in London gave them little support, and the single flopped for the second time.
Wickham placed the band on high priority and applied a lateral strategy with further investment. Steve Barron directed a revolutionary rotoscoping animation music video which took six months to create, using professional artists. Approximately 3,000 frames were rotoscoped, which took 16 weeks to complete. The single was released in the US one month after the music video, and immediately appeared in the Billboard Hot 100 and was a worldwide smash, reaching No. 1 in numerous countries.
At the 1986 MTV Video Music Awards, the video won six awards: Best New Artist in a Video, Best Concept Video, Most Experimental Video, Best Direction in a Video, Best Special Effects in a Video, and Viewer's Choice, and was nominated for two others, Best Group Video and Video of the Year. It was also nominated for Favorite Pop/Rock Video at the 13th American Music Awards in 1986.
"Take On Me" received a total of 95% yes votes, and is currently the most liked song on this poll blog! 🥳
The limited-edition model will comprise only 10 examples, each priced at $625,000, of which $100,000 of that will go to the American Heart Association and its latest “Life is Why” campaign.
Steve never really noticed it when he was growing up, not until he started dropping off Dustin and the kids. No matter how late it is, there's always a light on the porch for them. Like a sign that someone is waiting home for them.
It doesn't matter if his parents are out of town or not, it's always dark in the house. His parents doesn't care enough to leave a light for him. He won't leave it on for himself, because that feels pathetic.
Steve forgets about it, there's so many other things he should worry about.
He forgets about it until he starts dating Eddie Munson the summer of '85. Steve thanks the blue Scoops Ahoy shorts and the Corroded Coffin members for letting Eddie come in to the shop everyday for the whole summer until they finally start dating and making out at the parking lot.
Eddie starts hanging around Steve's house. Every night that Eddie stays at his house, Steve comes home to a house with a light on the porch.
The first time he notices it, he sat on his car crying for 30 minutes before finally caving in and entering the house. When Steve tells Eddie about this, Eddie visibly melts, scooping him into a hug before saying, "Oh sweetheart, as long as I am here, there's always going to be a light left on for you."
It's Eddie that makes the house a home. Steve doesn't care if he's living in a cardboard box, as long as he's with Eddie, it's home.
And that's why Steve's been standing in front of the dark porch for almost an hour now. Nancy's going to pick him up in a few more hours, so they can go back to the hospital and watch Max and Dustin.
But he can't— can't push himself to enter the dark house, knowing that Eddie's light and warmth is never going to touch it again. There's still blood stained on his hands, blood from when he had to leave Eddie's lifeless body in the Upside Down.
Steve wonders— morbidly— if Wayne has a light on in the trailer porch, waiting for a son that's never coming home.
Maybe it's weariness or maybe Steve just wants to peek inside and see if there's still a hint of Eddie floating around the house. Steve lets himself in the dark house, sliding down against the door as he sobs into Eddie's battle vest.
Outside, the porch light flickers. It blinks three times.
Rapidly. Slowly. Rapidly.
The flickering stops and the light stays on.
Because as long as Eddie Munson's alive, there's always going to be a light left on for Steve Harrington.
The Aeons getting jealous of their mortal lover enjoying the company of fellow mortals is sooo cute until it ISN’T. Anyone hearing me out on this?? Jealous Nanook taking on the appearance of a mortal…people wondering about your new “friend” and the constant death glares they shoot at anyone who gets too close…
Aha “blessing” you with the worst luck imaginable, so people stay away from you…
Yaoshi…idk what they would do but I’m sure it would be INTERESTING lol…