
"Toxic" is a song by American singer Britney Spears, released as the second single from her fourth studio album, In the Zone (2003). It was written and produced by Bloodshy & Avant, with additional writing from Cathy Dennis and Henrik Jonback. A dance-pop and techno-pop song with elements of South Asian music, "Toxic" features varied instrumentation, such as drums, synthesizers and surf guitar. It is played in the key of C minor with a tempo of 143 beats per minute. It is accompanied by breathy vocals and high-pitched strings, sampled from the 1981 Bollywood song "Tere Mere Beech Mein" by Laxmikant–Pyarelal. The lyrics of "Toxic" draw an extended metaphor of a lover as a dangerous and addictive drug. "Toxic" received acclaim from critics, who praised its hook and chorus, with many deeming it among the highlights of the album. It won Best Dance Recording at the 47th Annual Grammy Awards, marking the only Grammy win of Spears' career. The song topped the charts in 11 countries, including Australia, Canada, Hungary, Ireland, Norway, and the United Kingdom, and reached the top five in 15 countries. In the United States, it became her fourth top-ten single, peaking at number nine. The music video was directed by Joseph Kahn and includes references to Blade Runner, The Seven Year Itch and John Woo films. It features Spears as a secret agent who poisons her boyfriend, and includes scenes of Spears with diamonds on her body. Following the Super Bowl XXXVIII halftime show controversy, the video was deemed too racy for MTV and was moved to late-night programming. Spears has performed "Toxic" in live appearances, including the 2004 NRJ Music Awards and three of her concert tours. It was the opening number of the Onyx Hotel Tour (2004), where she sang atop a bus wearing a black catsuit. Spears also performed remixed versions of "Toxic" at the Circus Starring Britney Spears (2009), the Femme Fatale Tour (2011) and Britney: Piece of Me (2013). "Toxic" has been covered by artists such as Local H, Mark Ronson, A Static Lullaby, Reece Mastin and Ingrid Michaelson, and in the TV series Glee. It has also featured in films such as Knocked Up, You Again, Pitch Perfect 3, and TV series Doctor Who and Chuck. "Toxic" has become one of Spears' signature songs and is widely cited as among the most influential and innovative songs in pop music. The song has been included in multiple all-time lists of best songs, including by Pitchfork, NME and, in 2021, was ranked among Rolling Stone's 500 Greatest Songs of All Time.

Toxic (song)

Songs used in this season
for Songs used in this season in Taxi Driver (Season 3)
Suggested by tanyamalik

In the third season of Taxi Driver, Kim Do-Ki and his Rainbow company team embark on a series of revenge cases that shed light on pressing LGBTQA+ issues, slut-shaming, and the double standards surrounding sex positivity. They confront the challenges faced by both men and women, especially sex workers. Meanwhile, they also tackle a tourist scam targeting single South Korean men, as well as a chilling group of serial killers haunting the city on Halloween. Amidst the chaos, Kang Hana unexpectedly reenters their lives, bringing her own share of secrets and mysteries. Furthermore, Do-Ki encounters a young woman named Noa, accompanied by her daughter Sae-Byeok. Noa claims to be Do-Ki's long-lost half-sister, revealing a hidden family connection that her missing father concealed for years. Inspired by her newfound bond, Noa joins the Rainbow group, introducing her group of sex workers called "The Coven." She envisions establishing a nightclub and fashion boutique near the cab company, offering her friends a fresh start with the support of the team. As the season progresses, tensions rise, leading to a near-fatal attack on Do-Ki. The incident forces the team to adapt and adjust without their leader, as he undergoes a challenging period of recovery. Will they be able to overcome this obstacle and continue their pursuit of justice? The season culminates in a gripping climax that tests their resilience and determination, leaving audiences on the edge of their seats.





