The Strange Origins of 17 Popular Songs

Central Press, Hulton Archive/Getty Images
Central Press, Hulton Archive/Getty Images

You’ve hummed along to them in the car, belted them out in the shower, performed them on karaoke night, and possibly even danced with your grandparents to one of them at your second cousin’s wedding. But do you really know the dark origins behind Van Halen’s “Jump” or the existential conversation that is Hanson’s “MMMbop”? The answers may not be as obvious—or innocent—as you might have thought. Here are the surprising origin stories behind 17 popular tunes.

1. “MMMBop” // Hanson

Yes, Hanson’s 1997 hit “MMMBop” contains such lyrics as “Mmm bop, ba duba dop ba du bop, ba duba dop ba du bop, ba duba dop ba du.” And it was written and performed by a trio of young brothers ranging from 11 to 16 years old at the time. But that doesn’t mean it wasn’t deep. “It’s the most misunderstood successful song of all time,” Zac Hanson told Entertainment Weekly in 2017. “Even at the height of 1997, it’s a song nobody understood. [Ninety-nine] percent of the people who have any reference from it don’t understand it.” One month later, Zac gave an even more explicit answer about the meaning behind the song while appearing on the Kyle and Jackie O. Show, stating:

"'MMMbop' represents a frame of time: 'In an MMMbop they're gone' it says in the lyrics of the song. The whole song's about the fact that almost everything in your life will come and go very quickly. You've got to figure out what matters and you've got to grab onto those things."

So that’s what “ba duba dop ba du” means.

2. “The Way” // Fastball

Don’t let the catchy beat fool you: Listen to the lyrics of Fastball’s 1998 hit “The Way” and you might just notice that the tune is coming from a pretty dark place. While lines like “And it's always summer, they'll never get cold / They'll never get hungry / They'll never get old and gray” could be mistaken for describing a kind of utopia where one would want for nothing, the song in question is about the disappearance of Raymond and Lela Howard, an elderly Texas couple who headed out one night to attend a local fiddling festival and never came home.

The couple was found dead in their car two weeks later near Hot Springs, Arkansas, several hundred miles from their home. Police concluded that the Howards had gotten lost on their way to the event, became disoriented, and accidentally drove off the road. (Raymond had recently suffered a stroke and Lela had been exhibiting signs of Alzheimer’s disease.) Suddenly "The Way" doesn’t sound as upbeat.

3. “Ticket to Ride” // The Beatles

There’s some contested history between John Lennon and Paul McCartney about what “Ticket to Ride” was referring to, even though the song’s lyrics were credited to both of them. In McCartney’s version, the ticket in question is just that: a British Railways ticket to Ryde, a seaside town on the northeastern coast of the Isle of Wight, where McCartney’s cousin owned a pub (he and Lennon once hitchhiked their way there). Lennon, however, had a different—and saucier—explanation.

According to journalist Don Short, who logged a lot of time traveling with the band back in the day: “The girls who worked the streets in Hamburg had to have a clean bill of health and so the medical authorities would give them a card saying that they didn’t have a dose of anything. I was with The Beatles when they went back to Hamburg in June 1966 and it was then that John told me that he had coined the phrase ‘a ticket to ride’ to describe these cards. He could have been joking—you always had to be careful with John like that—but I certainly remember him telling me that.”

4. (You Gotta) Fight for Your Right (To Party!) // Beastie Boys

In 1986, the Beastie Boys gifted teens across American with a legendary party anthem in “(You Gotta) Fight for Your Right (To Party!).” There was just one issue: The song was written specifically as a mockery of party anthems. “There were tons of guys singing along to ‘Fight for Your Right to Party’ who were oblivious to the fact that it was a total goof on them,” band member Michael “Mike D” Diamond said. “Irony is oft missed.”

5. “I Will Always Love You” // Dolly Parton

Thanks in large part to Whitney Houston’s rendition of “I Will Always Love You” in the hit 1992 movie The Bodyguard, the Dolly Parton tune became a battle cry for deeply in-love couples who for, whatever reason, could not be together. But Parton’s song wasn’t about a romance—failed or otherwise—at all.

In 1967, country music star program Porter Wagoner invited Parton, then an up-and-coming singer, to be a regular performer on his weekly TV show, The Porter Wagoner Show, as well as to join him on the road. Five years later, Parton was itching to move on from the show but Wagoner didn’t want to see that happen. Parton knew that she owed a huge debut to Wagoner and, as she explained to the Tennessean in 2015, wondered: “How am I gonna make him understand how much I appreciate everything, but that I have to go? So I went home and I thought, ‘Well, what do you do best? You write songs.’ So I sat down and I wrote this song.”

6. “Mother and Child Reunion” // Paul Simon

Paul Simon had a major hit on his hands with the 1972 song “Mother and Child Reunion,” a reggae-infused meditation on death that came about from the loss of a family pet. “Last summer we had a dog that was run over and killed, and we loved this dog,” Simon told Rolling Stone in 1972. “It was the first death I had ever experienced personally. Nobody in my family died that I felt that. But I felt this loss—one minute there, next minute gone, and then my first thought was, ‘Oh, man, what if that was [my wife] Peggy? What if somebody like that died? Death, what is it, I can’t get it.”

Though lyrics like “I can’t for the life of me remember a sadder day” made it clear that it wasn’t supposed to be a necessarily happy song, the strangest part of this tale is where the title came from: “I was eating in a Chinese restaurant downtown,” Simon explained. “There was a dish called ‘Mother and Child Reunion.’ It’s chicken and eggs. And I said, ‘Oh, I love that title. I gotta use that one.’”

7. "Born in the U.S.A." // Bruce Springsteen

America experienced a renewed sense of patriotism in 1984, when Bruce Springsteen's "Born in the U.S.A."—the song and the album—dominated the music charts. The Boss's raspy repeat of the fact that he was "Born in the U.S.A." made the song seem like an American anthem for the 1980s. Except it was more of a protest song, questioning the country's involvement in the Vietnam War.

For his part, Springsteen called it "the most misunderstood song since ‘Louie, Louie.'" In a 1984 interview with Rolling Stone, Springsteen said: "But when you think about all the young men and women that died in Vietnam, and how many died since they’ve been back—surviving the war and coming back and not surviving—you have to think that, at the time, the country took advantage of their selflessness. There was a moment when they were just really generous with their lives."

8. “Walk This Way” // Aerosmith

While putting together their iconic 1975 album Toys in the Attic, Aerosmith knew they wanted to play around with a song that would infuse elements of R&B and funk and get people up out of their chairs and dancing. Ultimately, that song would become “Walk This Way.” But the tune was one of those occasions where the music came before the lyrics.

“‘Walk This Way’ was this really cool riff and we got this whole thing together but had no idea what we were gonna do on top of it, vocal-wise, melody-wise,” guitarist Brad Whitford told Spin. “And then we watched Young Frankenstein … There was a part where the main character arrives at the train station in Transylvania and he’s met by this classic evil assistant, who takes his suitcase for him and hobbles down the steps and says ‘Walk this way,’ and to humor him he follows him down the steps the same way. So we told Steven [Tyler], you’ve got to call the song ‘Walk This Way.’ Steven was like, ‘You can’t tell me what to call the song, I haven’t even written the lyrics yet!’ But we told him he had to do it. So he did." Fair enough.

9. “Dude Looks Like a Lady” // Aerosmith

“Walk This Way” wasn’t the only time Aerosmith turned a joke into a song title. There was also “Dude Looks Like a Lady,” which came about from an experience Steven Tyler had at a bar: As he glanced around the room, he saw what appeared to be a young blonde woman with teased out hair. Upon further inspection, Tyler realized that the “woman” in question was actually Vince Neil from Mötley Crüe. Tyler later showed the tune, which he had renamed “Cruisin’ for the Ladies,” to songwriter Desmond Child.

“I listened to that lyric, and I said, ‘You know what, that’s a very boring title,’” Child recalled in 2016. “And they looked at me like, ‘How dare you?’ And then Steven volunteered, sheepishly, and said that when he first wrote the melody he was singing ‘Dude Looks like a Lady.’” But the band was concerned that using that as the title could be offensive to the LGBTQ community. “I’m gay, and I’m not insulted,” Child said. “Let’s write this song.” (For the record: Vince Neil did learn that the song was about him and, according to Desmond, “He had a good laugh.”)

10. “I Can’t Make You Love Me” // Bonnie Raitt

Bonnie Raitt's “I Can’t Make You Love Me (If You Don’t),” a melancholy ballad about unrequited love, was a major hit in 1991. But the song’s story and refrain came from an even more unfortunate (and violent) real-life love affair. The song was penned by popular Nashville songwriters Mike Reid and Allen Shamblin, and the idea originated with Reid after he read an article about a man who got drunk and shot up his girlfriend’s car. While standing trial for the incident, the judge asked the man if he had learned any lessons, to which he replied: “I learned, Your Honor, that you can't make a woman love you if she don't.”

Raitt’s recording of the song went on to become one of her biggest hits: It landed the eighth spot on Mojo Magazine’s 2000 list of the greatest songs, came in 339th in Rolling Stone’s ranking of the 500 Greatest Songs of All Time, and was inducted into the Grammy Hall of Fame in 2017.

11. "Good Riddance (Time Of Your Life)" // Green Day

Throughout the late 1990s and early 2000s, no graduation ceremony or going away party was complete without someone playing Green Day's 1997 hit "Good Riddance." Between the title, its upbeat tune, and the repeated "I hope you had the time of your life" lyric, it had all the makings of the perfect ditty for bidding farewell to a great couple of months, or years, of your life. In reality, Green Day frontman Billie Joe Armstrong wrote the song as a bitter farewell to his girlfriend, who was leaving him and moving to Ecuador. "I wrote the song as a kind of bon voyage," he told Guitar Legends in 2005, where he admitted it took less than 10 minutes to write. "I was trying not to be bitter, but I think it came out a little bit bitter anyway." Try telling that to the class of '97. Or '98. Or '99. Or ... you get the point.

12. “Rosanna” // Toto

In 1982, the same year actress Rosanna Arquette won an Emmy Award for her role in the TV movie The Executioner's Song, Toto released their hit song “Rosanna,” which was partly inspired by the actress (who was dating Steve Porcaro, the band’s keyboard player, at the time). In the years since, the band—and Arquette herself—have played down the idea that the song is about her … though it does seem a bit too coincidental.

Fun fact: While he has never confirmed it, rumors have long circulated that Peter Gabriel’s “In Your Eyes” (the song that Lloyd Dobler blasts from his boombox in Cameron Crowe’s Say Anything) was also written for Arquette, who was romantically involved with Gabriel for several years. (The fact that the opening line to Toto's tune is "All I want to do when I wake up in the morning is see your eyes" only adds credence to the argument that both songs were written about Arquette.)

13. "Mrs. Potter’s Lullaby" // Counting Crows

Rosanna Arquette isn’t the only actress to have inspired a hit song… although in the case of “Mrs. Potter’s Lullaby,” there was no romantic relationship between the songwriter and his muse. In 1998, Counting Crows frontman Adam Duritz reportedly developed a bit of a crush on actress Monica Potter after seeing her in Con Air and Patch Adams. Cut to: Approximately one week later, and the band is in the studio getting ready to record more of their upcoming album … including “Mrs. Potter’s Lullaby,” Duritz’s ode to an actress whom he had never met. That’s when a friend called to let him know that she was having lunch with Potter’s agent at that very moment, and they all wanted to meet him (Potter included). Duritz obliged.

As Duritz later told the Broward Palm Beach New Times, Potter then asked him if it was true that he had written a song about her. “Well, no. I mean, not exactly,” he explained. “It’s a song about an imaginary version of you. The song is about what happens when you fall in love with people who don’t exist, like with a person on the movie screen.” When he informed Potter that he actually needed to leave to head back to the studio where he was recording the song, she asked to come along and listen. And it was Potter who, when Duritz decided the song was not ready for public consumption, convinced him that it was great and to keep it on their upcoming album.

14. “…Baby One More Time” // Britney Spears

You could be forgiven for thinking that the 1998 song that turned Britney Spears into a pop princess was called “Hit Me Baby One More Time,” as that was the original title—and is very clearly the song’s refrain. But Spears’ record label was (rightly) concerned that the title would make it sound like the song was about—or even worse, condoning—domestic abuse. The truth, it turns out, is far less controversial: The song was written by Swedish hitmakers Rami Yacoub and Max Martin, who thought the American slang term for “call me” was “hit me” versus “hit me up,” hence the more violent-sounding lyrics.

15. “Jump” // Van Halen

The lead single from Van Halen’s hit album 1984 might be best remembered for Eddie van Halen’s synthesizer solo and David Lee Roth hamming it up for the camera in the video, but the song’s key direction to “Go ahead and jump” takes on a more ominous connotation when you learn that the lyrics came to Roth after he watched a news broadcast about a suicidal man standing on the top of a building and threatening to jump. While the news report may have put the word “jump” in Roth’s head, the band’s song is decidedly more positive.

16. “One Way or Another” // Blondie

With its rock-heavy beat and powerfully delivered lyrics, Blondie’s “One Way or Another” sounds like an anthem for empowerment. But listen more closely and it’s clear that the title is more of a threat.

“I was actually stalked by a nut job, so it came out of a not-so-friendly personal event,” Debbie Harry told Entertainment Weekly in 2011 of the song’s genesis, which she wrote as a sort of revenge poem to the man who was harassing her. “But I tried to inject a little bit of levity into it to make it more lighthearted. I think in a way that’s a normal kind of survival mechanism. You know, just shake it off, say one way or another, and get on with your life. Everyone can relate to that and I think that’s the beauty of it.”

17. “Sunny Came Home” // Shawn Colvin

“Sunny Came Home” was a hit song off Shawn Colvin’s 1996 concept album A Few Small Repairs that went on to win Grammy Awards for Record of the Year and Song of the Year. Yet it was also a song that was inspired by the cover art used for A Few Small Repairs. How did that chronology work, exactly?

“The inspiration behind that story came from the painting that I chose to be on the cover of the record,” Colvin explained in 2017. “I just liked Julie Speed’s work and I really wanted something different rather than a photo. In the 11th hour, ‘Sunny Came Home’ was really barely there—in fact I think I had it as ‘Jimmy Came Home’ at one point before I’d written the lyric to ‘The Facts About Jimmy.’ I looked at this cover and I thought, you need to write a story about this woman on the cover who’s got a lit match and a big fire in the background.” And with that, a Grammy Award-winning song was born.

Amazon's Under-the-Radar Coupon Page Features Deals on Home Goods, Electronics, and Groceries

Stock Catalog, Flickr // CC BY 2.0
Stock Catalog, Flickr // CC BY 2.0

This article contains affiliate links to products selected by our editors. Mental Floss may receive a commission for purchases made through these links.

Now that Prime Day is over, and with Black Friday and Cyber Monday still a few weeks away, online deals may seem harder to come by. And while it can be a hassle to scour the internet for promo codes, buy-one-get-one deals, and flash sales, Amazon actually has an extensive coupon page you might not know about that features deals to look through every day.

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To discover all the deals you have been missing out on, head over to the Amazon Coupons page.

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20 Fun Facts About "Weird Al" Yankovic

Kyle Cassidy, Wikimedia Commons // CC BY-SA 4.0
Kyle Cassidy, Wikimedia Commons // CC BY-SA 4.0

Starting with his first professional recordings and appearances on the Dr. Demento radio show decades ago, "Weird Al" Yankovic—who was born in Downey, California, on October 23, 1959—has managed to stay on the pop culture map and change with the times, even as so many of the bands and artists he has parodied have faded out of the spotlight. Here are some facts about "Weird Al" Yankovic and his songs.

1. “Weird Al” Yankovic's parents chose the accordion for him.

The legend—verified by Al Yankovic in the liner notes of his 1994 box set Permanent Record: Al in the Box—reads that on the day before Al turned 7, a door-to-door salesman came through Lynwood, California, to solicit business for a local music school, which offered its pupils a choice between guitar or accordion lessons. Because Frankie Yankovic shared the family's surname and was known as "America's Polka King," Al's parents chose the squeezebox for their son. Al would gradually learn how to play rock n' roll on the instrument, mostly from Elton John's Goodbye Yellow Brick Road album, playing it "over and over" and trying to play along with it. Frankie and Al weren't actually related, but the two would eventually collaborate, with Al playing on "Who Stole the Kishka?" on Frankie's Songs of the Polka King, Vol. 1, and Frankie's "The Tick Tock Polka" played by Al as a lead-in to Ke$ha's "Tik Tok" on the Alpocalypse track "Polka Face."

2. Weird Al skipped the second grade.

Al attended kindergarten one year early and skipped the second grade, and his scholastic promotion was not popular with his older classmates. "I got my fair share of verbal abuse, but I learned to run pretty fast so I didn't get beat up a lot," Yankovic said. He said that when he wasn't running away, his recess time was often spent pretending to be Mr. Terrific, a TV character that took a power pill to make him a superhero. Yankovic would graduate Lynwood High School at the age of 16 as valedictorian.

3. Al Yankovic added the "Weird" to his name in college.

Yankovic was referred to by his full first name "Alfred" throughout childhood. It wasn't until he attended California Polytechnic State University looking for a degree in architecture that "Weird" became attached to Al Yankovic permanently. Al got a gig with the campus radio station playing records on Wednesdays from midnight to 3 a.m. and needed a DJ name, christening himself "Weird Al." It would take Yankovic time to sneak in any "weird" music that was not considered a part of the college station's format (New Wave music), but the moniker was his tribute to the comedy and novelty song playing radio broadcaster Dr. Demento (Barry Hansen), who gave Yankovic's earliest compositions some airplay.

4. "Weird Al" Yankovic's "My Bologna" was recorded in a bathroom.

In 1979, while he was still in college, Yankovic recorded his parody of The Knack's "My Sharona" in the acoustic-tiled bathroom across the hall from the college radio station, finding a microphone cord long enough to reach back to KCPR-FM's tape deck to make it possible. The song got a huge positive response on Dr. Demento's show, but "My Bologna" was the song that turned Yankovic's hobby into a career thanks to a backstage meeting with The Knack after a campus concert. Fortuitously, Rupert Perry, the VP of Capitol Records, was also present when Knack lead singer Doug Feiger professed to liking Al's parody. Yankovic remembered Feiger turning to Perry and saying, "'You guys oughta put this song out on Capitol Records." Perry agreed, and Al soon signed a six-month contract.

5. "weird Al" Yankovic doesn't legally have to seek out permission to parody an artist's song, but he asks for it anyway.

Under the "fair use" provision of U.S. copyright law, Yankovic and others do not need permission from original artists to satirize their work, as long as royalties are paid. But to stay on friendly terms with other artists in the industry, Weird Al asks for permission before recording anyway.

When he was still wet behind the ears, Al also discovered that if you don't seek out original artist approval, you can have a tough time getting a label to release your latest single. In 1981, Weird Al released "Another One Rides The Bus," a parody of Queen's "Another One Bites the Dust," without asking the band, and before TK Records agreed to a deal. It would turn out to be TK Records' last single release, as the company abruptly closed down citing financial trouble. Yankovic decided to go ahead and make his first national TV appearance on April 21, 1981 on Tomorrow with Tom Snyder, and Queen eventually gave the song their blessing (though guitarist Brian May referred to him as "Mad Al").

6. Some musicians and record labels have denied “Weird Al” Yankovic permission to parody their songs.

Michael Buckner/Getty Images for Hilarity For Charity

Yankovic has said that only "about 2 to 3 percent" of the time does he get a "no" from an artist or record label, but there have been notable rejections. Even though Led Zeppelin guitarist Jimmy Page is a fan, he indicated he would not approve of a polka medley of Zeppelin tunes. Still, a sample of "Black Dog" was allowed in a "Trapped in the Closet" parody. Paul McCartney didn't give permission for Wings' "Live and Let Die" because the altered version would have been "Chicken Pot Pie," which would have gone against McCartney's vegetarianism.

In some cases, the artist agrees but is overruled by the label. James Blunt initially said that it would be a "huge compliment" to have "You're Beautiful" changed to "You're Pitiful," but Atlantic Records rescinded authorization (Yankovic released his version as a free MySpace download to avoid starting trouble with Atlantic).

In an example of a no being turned into a yes, Daniel Powter initially refused to have his "Bad Day" parodied as "You Had a Bad Date," but changed his mind. Powter had the change of heart "literally the day before" Weird Al recorded "White & Nerdy" (the music video of which has Al vandalizing Atlantic Records' Wikipedia entry), and by then "the train had left the station."

7. One group's fans threw things at Weird Al and his band for 45 minutes

In 1982, Weird Al and his newly formed band played at their first major gig—and it was a profound disaster. The band opened for the then-popular New Wave band Missing Persons at the Santa Monica Civic Auditorium, where they were on the receiving end of assorted thrown objects for their entire 45 minute set. Yankovic remembered his band scrambling for the loose change as soon as the curtain went down.

The ignominy didn't end indoors: "I was walking to my car in the parking lot, and this 12 year old boy comes up to me and says 'Are you Weird Al?' I said yes, and he said 'YOU SUCK!' That was the capper of the evening." After that, the band agreed to never play as anyone's opening act and to just be the headliner of smaller shows—a rule they wouldn't break for five years until agreeing to open for The Monkees in 1987. Their fans were far more civil.

8. "I Lost On Jeopardy" might have played a part in getting Jeopardy! back on the air.

This is the general timeline of events: Jeopardy! started as a daytime game show on NBC from 1964-1975, hosted by Art Fleming, with Don Pardo (later of SNL fame) as the announcer. On December 12, 1983, Weird Al recorded "I Lost On Jeopardy." The single, which referred to the NBC version of the show, was released on June 4, 1984; the music video, starring Fleming and Pardo, had been filmed two weeks earlier. Sometime in between the recording of the song and the shooting of the video, Griffin was asked to pair his already-popular Wheel of Fortune with another half-hour game show, and at some point he re-discovered Jeopardy!. Griffin invited Yankovic to perform his song on June 29, 1984 and talked with him briefly afterwards, saying that with the great success of the single, Jeopardy! was coming back on the air. Whether Griffin was being tongue-in-cheek, or just exaggerating, or hedging his bets if the revival failed, Jeopardy! returned on September 10, 1984 with new host Alex Trebek. Despite some programmers initially putting the show on during unpopular morning and late night hours, the revival would become an television institution, and generate many losers.

9. "Like A Surgeon" was Madonna's idea.

Reportedly, Madonna and an unnamed friend made history while talking one day. Madonna wondered aloud when Weird Al would turn "Like a Virgin" into "Like a Surgeon." The friend was a mutual friend of Yankovic's manager Jay Levey. Levey then told Yankovic, and soon it became the first single and video from the Dare To Be Stupid album. It was the first and last time a musician successfully offered a suggestion to Yankovic, who openly discourages people from giving him parody ideas.

10. Michael Jackson was a fan of Weird Al’s music.

Weird Al didn't think that Michael Jackson would agree to a parody of "Beat It," but was pleasantly surprised to hear from his representatives that Michael thought "Eat It" was funny. Years later, when Yankovic came up with the idea for "Fat" for Jackson's "Bad," Jackson not only agreed to the parody, but told him he could use the set from his "Badder" music video for "Fat," which went on to win the 1988 Grammy for Best Concept Music Video.

The two met in person twice: The first time was backstage at one of Michael's shows, where Weird Al presented Jackson with a gold record of the album Even Worse. The second time was after a TV show taping, where Jackson said he would screen UHF to his friends at Neverland Ranch. When the two were studio neighbors working on their respective albums, Al would occasionally receive a little note in the door reading "Hello from next door," signed "Love, MJ."

11. Despite being a fan of the comedic performer, Michael Jackson wouldn’t let “Weird Al” record a parody of "Black or White."

"Snack All Night" was slated to be Yankovic's interpretation of "Black or White," but Michael "wasn't quite so into it." The fact that Jackson considered "Black or White" a "message" song made him uncomfortable with any comedy undercutting it. Weird Al later admitted that Jackson did him a "huge favor," helping him avoid becoming someone just known as the guy doing Michael Jackson parodies, and steering him towards his commercial success in 1992 lampooning Nirvana instead. While "Snack All Night" has never been recorded in a studio, it has been played a few times at Weird Al shows.

12. “Weird Al” Yankovic wrote a song in 1986 called "Christmas At Ground Zero."

The 1986 single off of Polka Party! was a response by Weird Al to the Scotti Bros. record label, who had been trying to get him to record a Christmas song for two years. There's some debate as to whether or not radio stations banned the record, but the macabre nature of the song, which is set in a world where a nuclear war is about to break out, limited its commercial airplay anyway. The term "ground zero" changing from a general description of where some sort of detonation took place to a term associated with the events of September 11th made radio airplay even scarcer—although Dr. Demento claims it's still a favorite of his listeners, and was the most requested Christmas song since "Grandma Got Run Over By A Reindeer."

13. Nirvana revitalized Weird Al's career.

After the commercial failure of 1989's UHF (despite its Neverland Ranch popularity), Yankovic returned to the recording studio in June 1990 to record original songs for a new album. When it came time to record the parodies, he ran into a problem: There was nothing good to make fun of. After getting turned down by Michael Jackson with "Black and White," Al was open to discover Nirvana's "Smells Like Teen Spirit," which Yankovic changed to "Smells Like Nirvana." The song made fun of the fact that it was nearly impossible to understand Nirvana singer Kurt Cobain's words. The Nirvana album Nevermind and its instantly iconic cover of a baby chasing a dollar bill underwater gave Al the concept for his album, which he titled Off the Deep End, alluding to the cover art of Yankovic swimming after a doughnut on a fishhook. In the "Smells Like Nirvana" music video, Al even used the same janitor in the "Smells Like Teen Spirit" video, as well as some of the cheerleaders.

14. Coolio was not at all cool about “Amish Paradise.”

After "Amish Paradise," Weird Al always made sure to speak directly with the artists and never to rely on their management. The 1996 song based on "Gangsta's Paradise" annoyed Coolio at the time, saying something that indicated Michael Jackson's influence: "I ain't with that. No. I didn't give it any sanction. I think that my song was too serious. It ain't like it was 'Beat It.' 'Beat It' was a party song. But I think 'Gangsta's Paradise' represented something more than that. And I really, honestly and truly, don't appreciate him desecrating the song like that."

Weird Al apologized, claiming that Coolio's managers and label gave Yankovic the belief that Coolio was OK with the parody. One year later, Coolio rapped the couplet, "Fools be in the bars unadvanced with a switch/Uppercuts and fight kicks with Weird Al Yankovich" on his song "Throwdown 2000." Coolio eventually got over it, and approached Yankovic at the 2006 Consumer Electronics Show to make peace.

Asked later about the whole incident, Coolio said he really thought it out. "I was like, 'Wait a minute.' I was like, 'Coolio, who the f—k do you think you are? He did Michael Jackson. Michael Jackson didn't get mad,'" adding that complaining about "Amish Paradise" was "one of the dumbest things I did in my career" and that the parody was "funny as sh--." Coolio claimed that Al invited him to appear in Weird Al's 3-D film Al's Brain, but the money figure wasn't to the rapper's satisfaction.

15. Prince repeatedly refused to be parodied, and didn’t want Weird Al to even look at him.

Throughout the '80s and early '90s, Yankovic repeatedly asked for permission to satirize Prince's work, but was always denied—to the point where he eventually got the hint. To seemingly indicate that it was personal, Al received a telegram for Prince's lawyers the night before an American Music Awards demanding that he not make eye contact with the Minnesota native. Yankovic would later learn that other musicians that were also seated within Prince's vicinity received the same note, and admitted that he looked at him a few times.

16. Eminem denied permission to make a music video for the "Lose Yourself" parody.

Even though Eminem agreed to allow "Lose Yourself" to be parodied in audio form as "Couch Potato," he refused permission to make a music video of the song. Yankovic claimed that Eminem's reasoning was that it would "be harmful to his image or career." The video would have been a pastiche of scenes from other Eminem videos. Because every first single from Yankovic was typically heavily promoted by a music video, this scrapped all plans to make "Couch Potato" the lead single on Weird Al's 2003 album Poodle Hat.

17. "White & Nerdy" is the highest charting song of Weird Al's career.

Chamillionaire couldn't be happier when Weird Al parodied his "Ridin'," claiming that it gave the song "mega-record" status and credited it for giving him the 2007 Grammy for Best Rap Performance By a Duo or Group. The "White & Nerdy" video has amassed over 86 million views on YouTube as of this writing, and features Keegan-Michael Key and Jordan Peele years before their popular Comedy Central show Key & Peele went on the air. It was and currently is Yankovic's only Billboard Top 100 hit to make the top 10, peaking at #9 on the chart in the United States.

18. Weird Al mistakenly thought Lady Gaga did not approve of his "Born This Way" parody.

Al was finished with writing and recording his 2011 album Alpocalypse, his follow-up to 2006's Straight Outta Lynwood, but delayed its release for months to wait for one big hit to record a parody version of to release as a first single to start the album's promotion. "Perform This Way" was his take on the suddenly popular Lady Gaga's "Born This Way," but after being told by Gaga's manager that she wanted to read the lyrics and hear a recorded version first, Yankovic was ultimately told he was denied permission in April 2011. Resigned to having to delay the album's release further and record another song, Al posted "Perform This Way" on YouTube so his work wouldn't completely go to waste. Within the day of its posting and its subsequent positive reviews from social media, it came out that Lady Gaga never heard the song in the first place, and she actually loved it. By the end of that day, Alpocalypse's release date was set.

19. Singer Don McLean has confused his own “American Pie” with Weird Al's version in concert.

"The Saga Begins" finds Yankovic as Obi-Wan Kenobi recounting the plot of Star Wars Episode I: The Phantom Menace to the tune of Don McLean's "American Pie." Yankovic managed to write the lyrics based on spoilers he had read on the internet leading up to the movie's release. He attended a $500-a-ticket pre-screening for charity just to make sure his information was correct, and claimed to only need to make a couple of minor tweaks to the song. George Lucas was a fan, but Don McLean might no longer be so much of one. According to Yankovic, McLean's children started to play "The Saga Begins" so much in his home that when McLean performed "American Pie" in concert, he would lose focus and sing bits of "The Saga Begins" by accident.

20. The number 27 comes up often in "Weird Al" Yankovic's work.

At first, Yankovic used the number 27 just because it fit well as a lyric and because it was a "pretty funny number." When a fan called attention to the references to 27 in the "Like a Surgeon" and "This is the Life" videos, Weird Al started to use the number more often. Some references are straightforward, such as Al claiming to have eaten every Twinkie on 27th Avenue in "Fat," or the seeing a Take 27 on the clapboard during the faked moon landing scene in the "Foil" video. Some connections are tenuous, such as the factoid that Yankovic traveled 28,457 miles in his 2010 tour, 2 and 7 being the first and last digits of that number.