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The music video for "Knock Knock" was directed by Naive Creative Production. Stop-motion effect was used in some of the scenes in the video. It earned almost 10 million views on YouTube within 24 hours since its release and set a new record for the fastest K-pop group music video to reach 30 million view count in only 152 hours.
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Goodbye!" to the same tune at the end of their 1937 movie O-Kay for Sound. [22] R&B singer and bandleader Dave Bartholomew used the phrase on two of his recordings: "Country Boy" (1950) at the very end, and the original version of "My Ding-a-Ling" (1952) as a figure introducing each verse. [23] [better source needed]
Knock Knock was ranked #3 on Pitchfork ' s list of best albums of 2018, with Ryan Dombal complimenting its varied styles and sounds, writing that the album is "a parallel musical universe, one based on a collector's knowledge and a sense of play, where the histories of dance music and hip-hop and psychedelia are all pulled together by the same gravitational force."
Checker's version was featured in the 1962 film Don't Knock the Twist and was included on the soundtrack. Checker's version was featured in the 1988 film Hairspray, however, due to licensing restrictions with Cameo-Parkway Records, was not included on the soundtrack. The song was mentioned in the Ernie Mareska song "Shout! Shout!
Jack Donovan Foley (April 12, 1891 – November 9, 1967) [2] was an American sound effects artist who was the developer of many sound effect techniques used in filmmaking.He is credited with developing a unique method for performing sound effects live and in synchrony with the picture during a film's post-production.
Knock Knock is a 2015 thriller film [a] directed by Eli Roth, [6] who also co-wrote the script with Guillermo Amoedo and Nicolás López. The film stars Keanu Reeves, Lorenza Izzo and Ana de Armas. The film was released on October 9, 2015, by Lionsgate Premiere.
"Knock Knock" received generally positive reviews from music critics. AllMusic editor Andy Kellman felt that the song, along with Elliott's other contributions on the album, provides "a bulk of the most exciting material, with just the right amount of swagger added to the singer's more wide-eyed personality of the '90s."