• Share to Facebook
• Share to Twitter
• Share to Email

Weddings are celebratory occasions filled with dancing, decadent slices of cake, and perhaps one too many libations. But before you show up to the venue and get the party started, it’s worth noting the (usually) unwritten rules you’re expected to follow when invited to someone’s big day.

Many etiquette experts offer advice on topics ranging from how guests should dress to how much to spend on a gift. Following their suggestions ensures everyone enjoys themselves — especially the happy couple. Here are six etiquette tips every wedding guest should vow to uphold upon receiving a save-the-date.

Always RSVP on Time — If Not Early

A typical RSVP due date is three to four weeks before the big day, allowing the couple enough time to make arrangements for seating and food based on the amount of people expected to show up. The RSVP deadline is usually listed on the physical invite and/or wedding website, and you should always respond by that date whether or not you plan to attend. As etiquette expert Myka Meier tells Brides.com, “It can be added stress for the couple to have to follow up with guests who do not RSVP.”

There’s also no such thing as responding too early once invites have been sent. Also, be sure to formally reply by whichever means the couple requests, whether by mail or online, as this keeps all the RSVPs organized in one place. If you tell the couple in person, it could slip their mind later and they will have no written record of your reply.

Only Bring Invited Guests

When you’re invited to a wedding, take note of the names on the invitation. If it’s just your name, don’t show up with a guest or assume your little ones are welcome. The only folks who should attend a wedding are people listed on the invite. Of course, if the invitation lists “Guest” in addition to your name, it’s acceptable to bring any plus-one of your choosing. 

If you’re asked to attend solo, it may be because the venue has a limited capacity, or the couple may not want children at the event. In fact, the wedding company Zola notes that one in six couples prefer to have adult-only weddings. 

Avoid Wearing Certain Colors

When deciding what to wear to a wedding, start by looking at the dress code. “Black-tie” suggests a more formal affair, while “garden party” implies more of a colorful, semi-casual vibe. Once you’ve settled on what type of garment to wear, you’ll need to choose a color. 

One of the most widely known wedding etiquette rules is to avoid wearing white and similar colors such as ivory or cream, or even very light pastels that could show up as white in photographs. Wedding planner Brandi Hamerstone tells Martha Stewart, “The bride may or may not wear white … but it’s her color for that day. You don’t want to be mistaken for the bride.” The only exception to this rule is if the couple explicitly requests white attire to be worn for a less traditional affair.

In addition to avoiding white, you should steer clear of whatever color the wedding party wears if you’re made privy to this information, as matching the bridesmaids or groomsmen may cause confusion. Apri Brown, flagship manager of the bridal brand Amsale, tells The Knot, “It’s courteous to avoid wearing the same palette as the bridal party so they can stand out.”

Of course, those colors vary depending on the wedding. To find out which color is taboo, Brides.com recommends asking a member of the bridal party and to avoid asking the couple, as they likely already have enough on their plate. Alternatively, you can check the website or invitation for the color palette to get some insight on what shades to skip.

Don’t Contact the Couple on Their Wedding Day

On the day of the wedding, you don’t want to bother the couple, even if you’re running late or feeling sick. Calling them to say you may not make it is only going to add to their overall stress on an already hectic day. Instead, Myka Meier tells Brides.com that you should “try reaching a wedding planner, bridesmaid, or groomsman who can help you.” They’ll be able to provide you with some guidance and can pass along your message to the couple if and when the time is right.

For common questions such as what time the reception starts or directions to the venue, you should avoid bothering anyone involved in the wedding. Those details should be listed on the invitation or website, and it’s easy for you to find those answers on your own.

Arrive 15 Minutes Early

Running late can be perceived as disrespectful on any normal day, and to do it on the day of someone’s wedding can be seen as especially rude. Weddings often start promptly at the time listed on the invitation, so showing up even five minutes late may cause a big distraction. 

Etiquette expert Lisa Mirza Grotts tells Business Insider, “Guests should plan to arrive at least 15 minutes early,” as that gives you ample time to get seated and clear the aisle. In Brides.com, wedding planner Carina Van Son adds, “The old adage of ‘15 minutes early is on time, and on time is late,’ applies here.”

If you do arrive seconds before the bride is set to walk down the aisle, don’t try to scurry in front of her or sneak in through a side door. Etiquette expert Christin Gomes tells Brides.com that tardy guests should “rely on the ushers to let you know when you can enter the ceremony.” 

However, while arriving 15 to 30 minutes before the ceremony is perfectly acceptable, any earlier than that may create complications. The staff may be distracted by your presence, which can impede their work as they hurry to put finishing touches on the venue. With this in mind, aim to time your arrival appropriately.

Stick to the Gift Registry

Wedding invites often come with the expectation of purchasing a gift in return, whether you end up attending or choose to send a present in your absence. If you’re wondering how much to spend, a 2o24 guest study conducted by The Knot suggests the average wedding gift is around $150. Feel free to spend more for a close friend or family member and less for people you don’t know as well, such as a colleague or family friend. 

According to the Emily Post Institute, cash is always an acceptable wedding gift. But if you’re looking to buy something more tangible than money, it’s best to stick to the couple’s registry. In fact, The Knot lists this as their top piece of advice when it comes to wedding gift etiquette, warning that if you buy off registry “you run the risk of getting the happy couple something they already have or something they don’t need (and possibly don’t have space for).” 

Keep in mind that some couples may be starting a new life together in a new space, and they may not have room for two of the same frying pan or the painting you think they’ll love. Buying gifts off the registry helps avoid duplicates and headaches, as all those gifts are items the couple has specifically selected.

• Share to Facebook
• Share to Twitter
• Share to Email

The world’s most talented songwriters don’t always end up performing the hit songs they write. Maybe the tune isn’t quite right for the album they’re currently working on, or they’re specifically hired to compose a song for someone else. Whatever the case, some tracks are handed off to a different musician, and that version becomes a smash hit. 

World-class talents such as Prince, Willie Nelson, and the Bee Gees have all penned songs that became an indelible part of another artist’s repertoire. Here’s a look at five famous musicians who wrote hit songs for someone else.

Prince: “Manic Monday” by the Bangles

The 1986 single “Manic Monday” was recorded by the all-female rock quartet the Bangles, and many assume the group wrote the track. But the song was originally penned two years earlier by Prince, the same year he released the seminal album Purple Rain. 

Back in 1983, Prince founded an all-female singing trio called Apollonia 6. The following year he wrote “Manic Monday” for that band’s namesake album, though he ultimately opted to leave it off the record. Two years later, he decided it was the perfect song for the Bangles, who’d just made their debut with the 1984 album All Over the Place. 

According to Bangles founder Susanna Hoffs, Prince was a big fan of that album, specifically the song “Hero Takes a Fall.” Prince later showed up unexpectedly at a Bangles gig in San Francisco, where he hopped on stage and played a solo backed by the rest of the band.

In May 1985, Prince formally offered “Manic Monday” to the Bangles (along with the song “Jealous Girl,” which the band rejected). Songwriting credit was given to “Christopher” — a pseudonym meant to reference Prince’s character in the 1986 film Under the Cherry Moon. “Manic Monday” eventually peaked at No. 2 on the Billboard Hot 100 in April 1986. Coincidentally, the No. 1 song that very same week was Prince’s own song, “Kiss.”

Willie Nelson: “Crazy” by Patsy Cline

“Crazy” is undoubtedly the defining song of Patsy Cline’s career. It’s also her only top 10 Billboard hit, having reached No. 9 on the Billboard Hot 100 in October 1961. But Cline didn’t pen this beautiful ballad; that credit belongs to country legend Willie Nelson. At the time, Nelson was in his mid-20s and just kicking off his own musical career.

In the late 1950s, Nelson used his daily commute to compose new song ideas. On one such journey, he wrote “Crazy” in less than an hour, though it was originally titled “Stupid.” The song was far from a hit at first, and he struggled to sell the tune because it was more complex than most country songs at the time. As Nelson told American Songwriter, “Crazy” “wasn’t your basic three-chord country hillbilly song,” and he ended up having “problems immediately… because it had four or five chords in it.”

In the 2023 book Energy Follows Thought: The Stories Behind My Songs, Nelson explained how the song ended up in Patsy Cline’s hands. It began when he brought a scratchy recording of the tune to Nashville’s Ryman Auditorium one night, where he met Cline’s husband, Charlie Dick. Dick loved the song so much that he drove Nelson over to his house at 1 a.m. and woke up Cline so she could listen to it. Cline went on to put her own spin on the tune, which became the hit we know today.

Neil Diamond: “I’m a Believer” by the Monkees

The Monkees started as a fictional band created for their namesake sitcom, which aired on NBC from 1966 to 1968. Despite the fact that they didn’t even play their own instruments at first (they relied on studio musicians for that), they eventually became a real-life pop sensation. 

Monkees songs topped the Billboard Hot 100 chart three separate times, including “Last Train to Clarksville” and “Daydream Believer,” both of which were written by other songwriters. The band also hit No. 1 with 1966’s “I’m a Believer,” which was written by a then up-and-coming Neil Diamond, who went on to become one of the bestselling musicians of all time.

Diamond cracked the Billboard Hot 100’s Top 10 for the first time on May 21, 1966 with his song “Solitary Man,” and hit No. 6 with “Cherry, Cherry” that August. His work caught the attention of the Monkees’ musical supervisor Don Kirshner, who reached out to Diamond’s producers and asked if he had any other songs similar to “Cherry, Cherry.” 

Diamond agreed to let the Monkees record “I’m a Believer,” which became a major hit for the group. Diamond later released his own version on his 1967 album Just for You, though it proved to be far less popular. During a 2008 interview with Mojo, he was asked if he was upset that the Monkees’ version performed better. He replied that he was “thrilled because, at heart, I was still a songwriter and I wanted my songs on the charts.”

The Bee Gees: “Islands in the Stream” by Dolly Parton & Kenny Rogers

On October 29, 1983, “Islands in the Stream” topped the Billboard Hot 100 chart, where it remained for two weeks. This beautiful duet between country legends Kenny Rogers and Dolly Parton was a hit, earning Rogers his first No. 1 pop song since 1980’s “Lady” and Parton her first since 1981’s “9 to 5.” But despite both artists being talented songwriters in their own right, the song was actually written by Barry, Maurice, and Robin Gibb — collectively known as the Bee Gees.

In a 2001 interview with Good Morning America, Barry Gibb said the band originally wrote the tune for Diana Ross, although Gibb’s brother, Robin, interjected to say they actually wrote it for Marvin Gaye. Whatever the truth may be, the song ultimately fell into the hands of Kenny Rogers in 1983, with Barry Gibb producing. 

According to American Songwriter, Rogers was brought in to record the song solo, but ended up disliking the tune after four days of singing it. Barry introduced the idea of adding Dolly Parton — who happened to be downstairs at the studio — and making it a duet. Parton was brought into the room and completely transformed the song into the smash hit it remains today.

Paul McCartney: “Come and Get It” by Badfinger

Badfinger may not have achieved their success if it wasn’t for the mentorship of the Beatles. Back in 1968, they were the first band signed to the Beatles’ Apple Records label, and they even took their name from the working title of a Beatles song. (“With a Little Help From My Friends” was originally called “Bad Finger Boogie” since John Lennon performed it with an injured hand.) Badfinger can also credit their first major success to Paul McCartney, who wrote the top 10 hit song “Come and Get It.”

McCartney originally wrote “Come and Get It” for the 1969 movie The Magic Christian, which starred Beatles drummer Ringo Starr. McCartney recorded a demo of the song on July 24, 1969, and even considered including it on Abbey Road. But he decided to give the song over to Badfinger instead, and held auditions to determine which band member would sing lead. (Rhythm guitarist Tom Evans was the winner.) 

While the band suggested putting their own take on it, McCartney instructed them to perform it exactly like the demo and turned down any other suggestions. The result was a success, as “Come and Get It” peaked at No. 7 on the Billboard Hot 100 chart on April 18, 1970, and spent 15 weeks total on the chart.

• Share to Facebook
• Share to Twitter
• Share to Email

Hood ornaments were once a symbol of automotive elegance and brand identity, and no self-respecting luxury vehicle would hit the roads without one for much of the 20th century. These prominent, hood-based miniature sculptures were status symbols, proudly displaying a manufacturer’s identity. 

But at some point, hood ornaments began to disappear — and a casual glance at the traffic rumbling along today’s roads attests to their near extinction. Most modern vehicles feature a flush and comparatively subtle badge or emblem integrated into the hood, bumper, or rear hatch — a far cry from the flashy, protruding mascots of earlier decades. Let’s take a trip through automotive history to examine what exactly caused the decline of hood ornaments. 

The Golden Age of Hood Ornaments

The first half of the 20th century was the golden age of hood ornaments — or car mascots, as they were sometimes known — which were originally used for both practical and aesthetic purposes. 

The trend started in 1911, when Rolls-Royce began attaching its iconic Spirit of Ecstasy figurine to its hoods, purely as a status symbol. Around the same time, a new invention called the Boyce MotoMeter became popular. This device was basically a thermometer that screwed directly into the radiator cap, which back then was located on the hood. This allowed the driver to see the engine temperature while driving to help avoid overheating. Motometers were both practical and quite ornate, and they helped to further popularize the concept of hood ornaments. 

Motometers became obsolete as manufacturers began to incorporate coolant temperature gauges into their vehicles, but the idea of affixing objects to hoods purely for decorative purposes remained. By the 1930s, hood ornaments had reached their artistic zenith. Other luxury car manufacturers followed Rolls-Royce’s example and began designing their own distinctive hood ornaments: Mercedes-Benz with its three-pointed star, Jaguar with its leaping cat, and Bentley with its Flying B. 

By this stage, hood ornaments had evolved beyond simple decoration to become powerful branding tools that instantly communicated a manufacturer’s individuality, style, and prestige. They also started to gain popularity among American-made vehicles, with Dodge’s charging ram, Lincoln’s four-pointed star, and Buick’s bombsight, to name just a few. 

Practical Concerns 

Throughout the 1960s and 1970s, hood ornaments began to disappear, in part due to safety concerns. As the understanding of pedestrian safety improved, metal ornaments protruding from car hoods were increasingly viewed as a potential hazard in collisions. 

The ornaments weren’t officially banned, but many manufacturers did take note. Some eventually removed their hood ornaments altogether, while others came up with innovative solutions to address the safety issues — Bentley, for example, installed a feature that allowed its Flying B to retract inside the hood in the event of an impact. 

Another blow to hood ornaments came from the modern pursuit of aerodynamic efficiency. As cars became faster and manufacturers increasingly sought ways to reduce drag coefficients and increase fuel efficiency, protruding ornaments became something of an engineering liability. 

While the effect may have been negligible in some cases, hood ornaments such as the chunky Bugatti elephant and the bulky Mack bulldog could certainly hinder a car’s aerodynamics. Rolls-Royce, despite being one of the few high-end car manufacturers to retain its hood ornaments, has still taken aerodynamics into account. Its Spirit of Ecstasy figurine was originally a hefty 6 inches tall but has slowly shrunk over time, with the statuette most recently downsized to about 3.25 inches tall in 2022. 

Another practical concern was simple theft. By the late 1980s, the theft of automobile accessories had risen sharply across the U.S., in part to fuel a growing fad among youths of wearing luxury hood ornaments around their necks. (Mercedes-Benz and Cadillac were particularly popular.) In response, manufacturers such as Mercedes-Benz made removable emblems available, while Rolls-Royce and Bentley began making retractable anti-theft ornaments that disappear down into the hood if tampered with. 

The Decline of Hood Ornaments

Taken altogether, these three practical elements — safety, aerodynamics, and theft — have made hood ornaments less appealing to both manufacturers and car owners. Apart from these practical concerns, modern car design trends have embraced a more minimalistic approach. This design philosophy emphasizes simplicity, clean lines, and unadorned surfaces — all of which run counter to the extravagant nature of hood ornaments. 

Hood ornaments are rarely seen today, and only a handful of luxury manufacturers, including Rolls-Royce and Bentley, still offer them on current models. While hood ornaments have largely vanished from modern roads, however, their influence can still be seen in car design and brand identity — and they remain powerful symbols of automotive history.