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Version 25.1.0.232: Note: Now requires OS X 10.10 or later. Note: Now requires a 64-bit Intel processor. Musicxml:.

Exported inserts from the text and expression tools quality improved. MusicXML now supports note shape settings in staff styles for built-in key signatures. Improved SmartShape export to MusicXML. The Measure Tool's Always Show option in MusicXML Export has been improved. MusicXML export supports default Percussion Noteheads font, Jazz font characters 150-157, 180, 202, 203, 204, 224, 248, 249 and Engraver character 238.

MusicXML exports laissez-vibrer tie shape expressions and tied notes followed by rests correctly. MusicXML export filters exact duplicate articulation and slur assignments. Expressions with executable shape playback do not export MusicXML sound elements for playback, for either shape or text expressions. 7(+9), 7(+9b13), and 7(b9/b5) chord symbols now export to MusicXML. MusicXML stitches together brackets on separate systems during export. Finale remembers MusicXML batch import/export folder between sessions. MusicXML recognizes custom lines as piano pedals.

MusicXML now exports lyrics attached to hidden rests. Finale exports any arbitrary shape expression as a graphic within a compressed MusicXML file. MusicXML Preferences added to File Import and File Export. Articulation position accuracy has been improved for MusicXML imports. Vertical glissandos maintain their position when exported to MusicXML. MusicXML export respects when Show Suffix is deselected. Chord symbols in percussion notation export correct root and bass to MusicXML.

The ability to import scanned documents has been removed from Finale. Reset All Preferences. Reset All Preferences button added to the Preferences dialog box. Large Time Signatures. Large time signatures can be created easily with the new Time Signatures in Score and Time Signatures in Parts options in the Staff Attributes, Global Staff Attributes, and Staff Styles dialog boxes. Transposed Instrument Note Entry. Transpose Audio On Input option added under MIDI/Audio Device Setup to help aid QWERTY and mouse entry for transposed instruments.

Finale can now be used with 3rd party digital audio workstations via ReWire. Mirror tool. This tool has been removed but the user will be prompted to convert their notes. Tempo tool. This tool has been removed. Users can still use some of the same functions with the MIDI Tool.

Movie Window. The Movie Window has been removed with the introduction of ReWire. Garritan Ambience. Garritan Ambience has been removed. Garritan Convolution Reverb and Ambience can be added using the ARIA Player. Garritan Instruments for Finale. New additions include the Concert D Grand Piano from Garritan Personal Orchestra 5, recorders, dulcimer, didgeridoo, full choir, and many other sounds from the Garritan World Instruments and Instant Orchestra libraries.

Contoured Dashed Slurs. Contoured dashed slurs are now available in the Smart Shape Palette and under Tools Smart Shape Dashed Slur. The previous Dashed Slur Smart Shape has been renamed to Dashed Curve and is still available in the Smart Shape Palette and under Tools Smart Shape Dashed Curve.

Percussion Note Types. Mark tree and snares off options available as percussion note types. The Select Score and Parts for Printing dialog box has been incorporated into the Print dialog box.

Note: to continue reading the release notes, please click.

. Maya 'M.I.A.' Arulpragasam. Nate 'Danja' Hills. Marcella Araica singles chronology ' (2011) ' Bad Girls' (2012) ' (2013) ' (2011) ' Bad Girls' (2012) ' (2013) Music video on ' Bad Girls' is a song by British recording artist for her fourth studio album, (2013).

The song is written by Maya 'M.I.A.' Arulpragasam, and, and produced by Danja. The song, her first release following her departure from in 2011, was self-released worldwide under exclusive license to in the US on 31 January 2012. A shorter version of the song appeared on (2010), a free online on 31 December 2010.

'Bad Girls' was released as a a day after its world premiere on radio and online. The track is a song with influences and exhibiting elements of, and drums in its. The song's lyrics revolve around sexual prowess and, while its chorus features the refrain 'Live fast die young, bad girls do it well' sung in a haughty rap-sung delivery. The song received positive reviews from contemporary critics, who lauded it as a highlight from the mixtape and commended its and lyrics on its final version as containing hallmarks of her previous songs including ' (2007) and ' (2010). An accompanying for the song was shot in, in solidarity with the, premiering on 3 February 2012. Directed by and written by Arulpragasam, the video garnered universal acclaim and accolades from other artists. The song charted in Australia, Belgium, Canada, France, Korea, Switzerland, the UK and the US solely on downloads and was distributed in physical format on 12 March 2012.

Contents. Background and release 'Bad Girls' first appeared on M.I.A.' S self-released mixtape (2010), shortly following the release of her third studio album earlier that year.

Recording sessions for the song transpired in; M.I.A worked with, a producer who previously collaborated with recording artists such as and. The artwork for 'Bad Girls' was released on 25 January 2012, while photos taken by Bernard Coulter of M.I.A. With cowriters Danja and Marcella, who were listening to the record's main mix in a jeep, were revealed on the rapper's official website and her page. Preceding its release, 'Bad Girls' was premiered on audio sharing site on 30 January 2012; the song premiered live on worldwide radio the same day on. The single was chosen as 's 'Hottest Record in the World' alongside 's ' (2012). Lowe opined that despite her typically 'energetic' tracks, the rapper was 'finding a new voice on her forthcoming album', which perhaps explained 'the lack of showing off displayed' on the record.

'Bad Girls' became readily available for digital download on the and on the following day. The song reached the A-List on rotation, and reached the top of the playlist on Italian radio station for the week dated 10 March. The single was released in physical format in the on 12 March 2012. Remixes 'Bad Girls' contains 3 remixes: the N.A.R.S Remix featuring rappers and; the Switch Remix, which still features Missy Elliott but also features replacing Azealia Banks; and the Leo Justi remix. American rapper utilises M.I.A.' S flow from 'Bad Girls' for the bridge to his song '. Composition 'Bad Girls' is a song with elements of Middle Eastern and Indian hooks with influences of and music.

The song's structure is focused on careening beats, synths inspired by Eastern sounds and syncopated drums and an SOS signal rhythm. Nick Levine of commented that the song's was one of those 'boffo pop choruses' that M.I.A. Could toss off when she wanted to, while commending the chorus as being in the same vein as that of ', a track from M.I.A.' S third studio album (2010). Thought that 'Bad Girls' was the catchiest song the singer had released since ' from (2007).

The song's consists of background bleeps and blorps mixed down, and the percussion turned up from, but still recalling, the original mixtape version. Because of these, the song exhibits what David Marchese of describes as a 'vaguely sinister' rhythm slither. Lyrically, the song explores themes of sexual empowerment.

Professes 'Live fast, die young, bad girls do it well' and 'My chain hits my chest when I'm banging on the radio' in a nonchalant mannered chant. Marchese describes the lyric as 'irresistibly sassy,' a view shared by Robert Copsey of, who wrote that it was a line M.I.A. Pulled off spectacularly. Adopts a 'nicely haughty' rapping-singing vocalization that bears resemblance to her previous work. The first consists of M.I.A. Declaring in many references to cars 'My chain hits my chest when I’m banging on the dashboard / My chain hits my chest when I’m banging on the radio / Yeah back it, back it, yeah pull up to the bumper game / With a signal, cover me, cause I’m changing lanes / Had a handle on it, my life, but I broke it / When I get to where I’m going, gonna have you saying it.'

She continues with the line 'I had a handle on it / My life, but I broke it' in an emotionally key delivery, a view shared by Will Hermes of who notes that in an anthem to recklessly empowered car sex, is 'surprisingly' melancholy. Critical response 'Bad Girls' was lauded by music critics. Columnist Jason Lipshutz complimented the song's 'hypnotic' hook; synonymous sentiments were echoed by Marchese, who ascertained the hook of 'Bad Girls' as an 'irresistibly sassy lyric'.

Jeff Klingman of felt that 'Bad Girls' was relatively subtle compared to her previous work. Although he enjoyed the 'bright and clean' rhythms of the track, Klingman reprimanded its lyrical content. 'There's no eye-rolling political agit-prop,' he remarked, 'but there's nothing taking up its void either. It's about being a bad girl, and driving a car. It acts like 'get down' rhymes with 'you can hang'.

It's just sort of filling space.' Robert Copsey of wrote that the song served as a 'timely reminder' that the musician could make a chart-friendly hit when and if she so chooses. He appreciated its hook as a line 'loaded with the kind of sex, drugs and rock 'n' roll fluff that most of today's chart hoggers are spouting' and probably the 'last thing we expected to hear from the politically-minded Sri Lankan' adding that it was also a line that few could pull off so spectacularly. Bill Lamb of rated the song three and a half stars (out of five), praising its chorus and composition and writing that 'this may be just be the kind of curveball that the artist M.I.A.

Might want to throw at the moment.' Molly Lambert of commented that 'Bad Girls' shows that the 'pop instincts and talents' of M.I.A. 'remain as sharp as ever.'

Priya Elan of the praised the song, writing 'With his help this is MIA as you’ve never heard her before, taking her pan-global pop smarts and injecting them with a huge growth hormone. Damn straight, MIA, damn straight.'

In his 3.5 out of five star review, Will Hermes of concluded: 'This repolished highlight from M.I.A.' S Vicki Leekx mixtape still rides a slinky, Bollywood-style Danja beat, and the key line flips the emotional script: 'I had a handle on it/My life, but I broke it.' As anthems to recklessly empowered car sex go, surprisingly melancholy.' Scott Shetler from PopCrush asserted that the track blended hip-hop with more 'exotic' sounds, in this case a 'hypnotic' Indian-sounding vibe. Likewise, in his review of the mixtape, Mike Schiller of described 'Bad Girls' as the most 'obvious call back' to the sound that brought M.I.A. In consumer guide for, critic named 'Bad Girls' as one of three highlights from the Vicki Leekx mixtape. Chart performance Without being released as a single, 'Bad Girls' debuted at number 62 on the, and at number 17 on the on 11 February 2012.

It climbed to position 43 on the former and peaked at 14 on the latter for the week ending 11 March 2012. Selling on digital downloads, the song opened at number 52 on the for the week ending 4 February 2012, and at number 58 overall on the South Korea Gaon International Singles Chart. 'Bad Girls' also charted on the US chart at number 10 for the week ending 11 February 2012, before peaking at number 5 on this chart. The song debuted at 81 on the Belgium Flanders chart in the first week of digital release, before climbing to 38 before physical format distribution.

Similarly, it charted on the at number 92 and the Australian Singles chart at number 86. On 19 February 2012, the song entered the at number 61. Within a week on solely downloads, 'Bad Girls' charted at number 83 on the, before climbing to number 61 on the week ending 11 March 2012. 'Bad Girls' was voted #99 on. As of 2012, the song has sold around 109,000 copies on the US, according to Nielsen Soundscan. Music video Background.

'It was dope to have so many people from so many different backgrounds speaking so many different languages come together to create something that we believed in. I thought I was gonna die on the shoot when I saw the drifting. It was a four day shoot so everyone was on edge the whole time specifically ME when I had to do bluesteel singing to the camera while the cars did doughnuts on the wet road ten feet away.

In my mind I was thinking how I was gonna deliver the video to Vice with no legs.' Describing the shoot for the video to 'Bad Girls'. Announced via that she had shot an accompanying for the song, directed. This is the second time the two have collaborated, following the to '. Two photos from the set of the video were uploaded by the artist onto M.I.A.' S official website in February 2012. The video for 'Bad Girls' premiered on Noisey, 's new music channel on, on 2 February 2012 at a total length of four minutes and twelve seconds.

For the video was done in, over a period of four days. Synopsis and production. In a still from the music video The setting of the music video features crumbled architecture, sustained over years of attack; smouldering oil tankers; young men in, standing around bored; mysterious women covered from head to toe, with only their kohl-lined eyes flashing out. Joked to Noisey in a YouTube comment response interview that she shot the video in Morocco because she 'didn't want to go to jail!' Deadpans to the camera about having sex in cars while vamping in front of those tanker fires. Rides atop a drifting car, filing her nails, and in a see through car custom-made for the shoot.

Her idea for the vehicle was inspired by the scene of actor dancing atop a see-through bus in the song ' from (1994). Having initially planned to fund the perspex car's construction in India, M.I.A. And Gavras funded the car's manufacture in Morocco after being told it would take 5 months to complete.

Women are depicted gyrating while wearing designs in cheetah patterns, polka dots and gold. Made in India, M.I.A. Described the design and creation of the video's props, from the clothes designs to the car's upholstery, as an 'accumulated process'. Leads a crowd of women decked in traditional middle-eastern garb with a hipster twist, in a modern-day -esque drag race.

It's a dusty evening, where the musician is wearing and; the girls are watched by cheering men as they drive, spin, skid and whoop across the desert plain. Channelling male angst, futility and anger, old family sedans and BMWs are grabbed and turned into, racing stunt rides. A rearing, galloping horse is picturised, being ridden alongside the cars. Critics note this resonates whether on Crenshaw, Eight Mile or a bullet-scarred road running parallel with an oil pipe line. The video evokes a Persian Gulf landscape – dusty, baked, semi-apocalyptic and in the hands of M.I.A. And Gavras, 'utterly hard-core'. Dan Busheikin of described the outfits in the video as 'ostentatious' and the driving 'risky', calling the video 'pretty badass'.

He welcomed M.I.A.' S 'ditching of the gaudy imagery and digital weirdo phase' of her early work, while feeling the singer remained 'as flashy' and confident as ever.

Reception Contemporary critics universally commended the music video for its themes and production values. The video was both heralded and criticized for confronting; the portrayal of women wearing the niqab driving cars is, while some media outlets accused the video of propagating Arab stereotypes. Claire Suddath of agreed that at first glance, the video appeared to be a political statement on women drivers in Saudi Arabia and a stylish, aesthetically pleasing piece, stating that the video was fun either way and that audiences could all agree that women and men should be able to 'drag race, pop wheelies and drive their cars on two wheels' equally. Dina Dabbous of publication praised M.I.A. For presenting an accurate picture of male customs in the kingdom of Saudi Arabia, continuing 'if she’s being accused of stereotyping, then she’s turning the oriental fantasy on its head when she has Arabian women dressed in khaki styled, though still Arabian, dress or gear, toting guns and strutting their stuff with a swagger unknown to the conservative female society that has women closed off or ‘haremed’ from the male gaze.

M.I.A’s girls are a far-cry from the harem-veiled subversive mysterious women of the oriental fantasy in their floaty feminine veils, if we’re accusing her of feeding stereotypes. She’s toying with the militarized West infiltrating Arabia. Sexing it up a notch to have her 'bad girls' taking male guns and aggro'. Comfort Clinton of hailed the video as 'certainly' echoing the lyrics of the song 'live fast, die young', with death-defying stunts and cars driving 'more dramatic circles than M.I.A.' S hip gyrations', described M.I.A.'

S concerns about the video as being 'just part of' the daily grind for a true 'Bad Girl'. Elizabeth Broomhall, writing in, appreciated M.I.A. For 'pushing boundaries' to get the world to pay attention to women's right to drive in the kingdom, and for being a female artist who 'finally' did something different. Margaret Wappler of the noted the video as a 'lady gangsta' fantasy but one that 'played off' very real ingredients from life in the Middle East while a writer for noted the video's similarities to previous videos by M.I.A. In bringing 'real' swagger to a place seldom identified as a hotbed of youthful recklessness, adjudging the video to bring an overhaul to the song through its cinematic nature.

Described the visuals as 'gritty' and 'action-packed', which demanded viewers 'made way for the pop-crusader'. Of described the video as sassy, energetic and dangerous, and noted the ginger child at the end of the video as a reference to 'Born Free'. A writer for declared that thematically, the video 'belonged in the same wheelhouse' as 's ' video, in its feminism and desert setting, but beyond their 'surface similarities (big explosions, big emphasis on the girls)', the two clips veered off in different directions. The writer continued 'Maya may be rapping about ladies' sexual dominance over men, but her clip is chaste — we're oohing and ahhing over car tricks, not hard bodies. Her girls are getting it done with skill rather than sexy.' Elizabeth Flock writing in noted that the video was made at a time when Saudi women began outside of court and online, while following the release of the video, two Saudi female activists — and — filed lawsuits against the government for refusing to give them a driver’s license, the first high-profile legal challenge to the country’s ban on female drivers. Naomi Zeichner of noted the video to be audacious, while Hua Hsu, writing for, praised Gavras as 'strikingly' talented, making 'scenes of faraway desperation look like the most beautiful, mysterious cologne advertisements ever' and the artistic vision of M.I.A.

For delivering the audience 'somewhere else'. He noted that for some, the video would be further confirmation that 'ornate scarves, wind-carved deserts, and Arabic script' were cool, while for others, it will 'no doubt inspire a deeper investigation into globalism and globalization, feminism, the politics of oil, the West's influence in the Middle East, a career as a graduate student etc.' He concluded that the video was further example of what made M.I.A.' S 'protest-in-the-name-of-what-exactly? So riveting, 'important,' and almost prophetic, saying 'She flatters our desire for authenticity, for a real spokesperson who apprehends the full circumference of the planet, and then she goes and makes a bright, gaudy T-shirt of it all.

If she has sold out — if she represented anything in the first place — then she's shown us exactly what our dollar can buy: an absolutely stunning video starring some of the Middle East's finest stunt drivers.' Writing in, Todd Hamm described it as the best music video of the year so far.

The video won, and at the. It was also nominated for but lost out to 's '.

It was nominated for a for where it lost to Rihanna's 'We Found Love' again. Use in media Singer soundtracked her Fall/Winter fashion line presentation with a remix of the song during in February 2012.

To celebrate their 60th anniversary, French clothing company commissioned 150 ice skaters to perform a routine to 'Bad Girls' in for their 2012 New York Fashion Week Fall/Winter finale. The song was used to soundtrack several shows during and the same month. 'Bad Girls' is featured in episodes of several television series:.: 'Blue Ivy' (Season 4).: 'It Girl, Interrupted' (Season 5).: (Series 6).: 'Natural Selection' (first episode of series).: 'Pilot' and 'Take Me with You' (season finale) (both Season 1). Also in 'The Parent Trap' (season 4). This song usually plays when she is doing an important delivery. It played in the pilot episode when we first see her at work during a delivery for a patient that was an immigrant and had no insurance. Then we hear this song play again when she and the other doctors deliver triplets (their first time delivering triplets).

Most recently, we see it in the episode 'The Parent Trap' when she delivers a baby of the first patient of her fertility clinic.: 'Baby' (Season 11).:, Episode 4.: 'The Metaphysical Engine, or What Quill Did' (Series 1) The song is also heard in the trailers for, and. In addition, the song was used in the films, and. In 2014, 'Bad Girls' was featured on the soundtrack of the, and PC versions of. This song was featured at the end of 's Gymkhana Eight: Ultimate Exotic Playground; Dubai Track listing UK digital download. 'Bad Girls' – 3:48 The Remixes. 'Bad Girls' (N.A.R.S. Remix) featuring Missy Elliott and Azealia Banks - 3:58.

'Bad Girls' (Switch Remix) featuring Missy Elliott and Rye Rye - 3:23. 'Bad Girls' (Leo Justi Remix) - 3:55 Credits and personnel.

–, Nate ' Hills,. –. Artwork – Mathangi Maya 'M.I.A.' Arulpragasam Charts Chart (2012) Peak position Australia 81 Australia Urban 29 Belgium ( Flanders) 38 Canada 92 Canada 66 France 61 Ireland 80 South Korea International Singles 52 Switzerland 61 (Official Charts Company) 43 UK Airplay 62 (Official Charts Company) 14 US ( ) 5 US ( ) 10 US ( ) 40 US ( ) 9 Release history Region Date Format Label United States 31 January 2012 Self-released/ Worldwide 1 February 2012 United States 28 February 2012 Worldwide 12 March 2012 /Interscope References. January 30, 2012. Retrieved January 6, 2018.

February 3, 2012. Retrieved January 6, 2018.

Retrieved 30 December 2010. 25 January 2012. Retrieved 29 May 2012.

Retrieved 18 May 2012. ^ Lowe, Zane (30 January 2012).

Retrieved 29 May 2012. 10 March 2012. From the original on 14 March 2012. Retrieved 29 May 2012. (in Italian). 10 March 2012.

From the original on 15 March 2012. Retrieved 29 May 2012. 12 March 2012. Retrieved 29 May 2012. ^ Levine, Nick (31 January 2012). Retrieved 29 May 2012. ^ Lamb, Bill.

Retrieved 6 February 2012. Spielberg, Theo. Retrieved 7 February 2012. ^ Lambert, Molly.

Retrieved 6 February 2012. Rolling Stone. Rolling Stone. Retrieved 22 June 2012. ^ Marchese, David (30 January 2012). Retrieved 30 May 2012.

3 February 2012. Retrieved 22 June 2012. 30 January 2012. Retrieved 22 June 2012. Will Hermes (6 February 2012).

Rolling Stone. Retrieved 22 June 2012. Lipshutz, Jason (30 January 2012). Retrieved 30 May 2012. ^ Klingman, Jeff (30 January 2012).

Retrieved 30 May 2012. Robert Copsey.

Elan, Priya. Retrieved 6 February 2012. Hermes, Will. Rolling Stone. Retrieved 6 February 2012.

Schiller, Mike (21 January 2011). Retrieved 21 February 2011. Christgau, Robert (11 March 2011). Archived from on 5 April 2011. Retrieved 14 March 2012. Archived from on 28 March 2013.

Retrieved 14 March 2012. From the original on 20 February 2012.

Retrieved 22 June 2012. Retrieved 2014-08-20. ^ Slater, Luke (3 February 2012).

Retrieved 4 February 2012. 2 February 2012. Retrieved 19 February 2012.

15 February 2012. Retrieved 22 June 2012.

The Daily Telegraph. 3 February 2012. ^ Hua Hsu (14 February 2012).

Retrieved 19 February 2012. ^ Wappler, Margaret (3 February 2012). Los Angeles Times. Retrieved 5 February 2012.

3 February 2012. Retrieved 8 June 2012. ^ Dabbous, Dina (11 February 2012).

Retrieved 18 February 2012. Dabbous, Dina (7 February 2012).

Retrieved 14 March 2012. Suddath, Claire (3 February 2012). Clinton, Comfort. Retrieved 22 June 2012.

Broomhall, Elizabeth (6 February 2012). Retrieved 19 February 2012. Reilly, Andrew (3 February 2012). Huffington Post. Retrieved 22 June 2012. 3 February 2012.

Retrieved 3 March 2012. 6 February 2012. Elizabeth Flock. 6 February 2012. Retrieved 14 February 2012.

Hamm, Todd (7 February 2012). Retrieved 22 June 2012. Gregory DelliCarpini Jr.

(13 February 2012). Retrieved 19 February 2012. Milner, Glen (14 February 2012).

The Daily Telegraph. ELLE Canada info@elle.ca (18 February 2012). Retrieved 22 June 2012. Michault, Jessica (27 February 2012). The New York Times. Retrieved 22 June 2012.

Rosen, Christopher (8 February 2013). The Huffington Post. Retrieved 10 February 2013. Ford Performance (2016-02-29), retrieved 2016-05-03. Archived from on 22 March 2012. Retrieved 22 March 2012.

Archived from on 18 March 2012. Retrieved 18 March 2012. ' (in Dutch). Retrieved 2012-02-01. Retrieved August 3, 2016. ' (in French).

Irish Recording Music Association. 15 March 2012. Archived from on 18 March 2012.

Retrieved 22 June 2012. 15 December 2012. Archived from on 19 December 2012. Retrieved 21 December 2012.

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Retrieved 15 February 2012. 4 March 2012. Archived from on 13 March 2012. Retrieved 22 June 2012. Retrieved 29 May 2012.

Retrieved 2016-04-26. Retrieved 2016-08-11. Retrieved 2016-08-11. Retrieved 22 June 2012.

Retrieved 22 June 2012. All access music group.

21 February 2012. From the original on 15 February 2012.

Finale Make Music Download

Retrieved 22 June 2012. External links.