Survivor Quiz Hub
Step into the ultimate Survivor quiz hub—where fans of arena-rock power and anthemic hooks test their knowledge of the band that roared through the airwaves. Think you know “Eye of the Tiger”? What about the smooth energy of Vital Signs or the melodic edge of When Seconds Count? This Survivor trivia center celebrates their chart-topping success and enduring radio classics, packed with questions spanning legendary hits, platinum albums, and iconic soundtrack moments. From record-breaking singles to unforgettable vocals, each quiz reveals how Survivor defined rock’s triumphant spirit. Whether you remember them blasting from FM radio or action-movie soundtracks, this Survivor quiz challenges you to prove you can truly go the distance. Are you ready to survive the quiz?
Survivor Profile
| Inception | Formed in Chicago, Illinois in 1977. |
| Members | Robin McAuley, Jimi Jamison, Frankie Sullivan, Jim Peterik, David Bickler |
| Key Albums | Eye of the Tiger (1982), Vital Signs (1984), When Seconds Count (1986), Too Hot to Sleep (1988), Caught in the Game (1983), Survivor (1979), Premonition (1981), Reach (2006). |
| Key Tracks | Eye of the Tiger (1982), Burning Heart (1985), The Search Is Over (1984), I Can't Hold Back (1984), High On You (1984), Is This Love (1986), Ever Since The World Began (1982), Man Against The World (1986), American Heartbeat (1982), Poor Man's Son (1981). |
| Grammy Record | 1 won and 1 nominated. |
| Billboard Hot 100 | 1 Number One Hits 5 Top-10 Hits |
![Image in QuizMyDay Kenny Loggins Knowledge Quiz trivia quiz featuring This is a <a href="https://en.wikipedia.org/wiki/en:Publicity_still" class="extiw" title="w:en:Publicity still">publicity still</a> taken and publicly distributed to promote the subject or a work relating to the subject.
<ul><li>As stated by film production expert Eve Light Honthaner in <i>The Complete Film Production Handbook</i> (Focal Press, 2001, p. 211.):<br>"Publicity photos (star headshots) have traditionally not been copyrighted. Since they are disseminated to the public, they are generally considered public domain, and therefore clearance by the studio that produced them is not necessary."</li>
<li>Nancy Wolff, in <i>The Professional Photographer's Legal Handbook</i> (Allworth Communications, 2007, p. 55.), notes:<br>"There is a vast body of photographs, including but not limited to publicity stills, that have no notice as to who may have created them."</li>
<li>Film industry author Gerald Mast, in <i>Film Study and the Copyright Law</i> (1989, p. 87), writes:<br>"According to the old copyright act, such production stills were not automatically copyrighted as part of the film and required separate copyrights as photographic stills. The new copyright act similarly excludes the production still from automatic copyright but gives the film's copyright owner a five-year period in which to copyright the stills. Most studios have never bothered to copyright these stills because they were happy to see them pass into the public domain, to be used by as many people in as many publications as possible."</li>
<li>Kristin Thompson, committee chairperson of the Society for <a rel="nofollow" class="external text" href="//cmstudies.org">Cinema and Media Studies</a> writes in the conclusion of a 1993 conference of cinema scholars and editors<a rel="nofollow" class="external autonumber" href="//web.archive.org/web/20131004004521/http://chnm.gmu.edu/digitalhistory/links/cached/chapter7/link7.59b.fairusageandfilmstills.html">[1]</a>, that:<br>"[The conference] expressed the opinion that it is not necessary for authors to request permission to reproduce frame enlargements... [and] some trade presses that publish educational and scholarly film books also take the position that permission is not necessary for reproducing frame enlargements and publicity photographs."</li></ul>](https://d3le1x71fx28bd.cloudfront.net/1e30709d-ce39-4047-8567-eaa123c05c9d/821a3a29-a332-4b08-8a19-f1499f36e3e0.jpg "Image in QuizMyDay Kenny Loggins Knowledge Quiz trivia quiz featuring This is a <a href=\"https://en.wikipedia.org/wiki/en:Publicity_still\" class=\"extiw\" title=\"w:en:Publicity still\">publicity still</a> taken and publicly distributed to promote the subject or a work relating to the subject.
<ul><li>As stated by film production expert Eve Light Honthaner in <i>The Complete Film Production Handbook</i> (Focal Press, 2001, p. 211.):<br>\"Publicity photos (star headshots) have traditionally not been copyrighted. Since they are disseminated to the public, they are generally considered public domain, and therefore clearance by the studio that produced them is not necessary.\"</li>
<li>Nancy Wolff, in <i>The Professional Photographer's Legal Handbook</i> (Allworth Communications, 2007, p. 55.), notes:<br>\"There is a vast body of photographs, including but not limited to publicity stills, that have no notice as to who may have created them.\"</li>
<li>Film industry author Gerald Mast, in <i>Film Study and the Copyright Law</i> (1989, p. 87), writes:<br>\"According to the old copyright act, such production stills were not automatically copyrighted as part of the film and required separate copyrights as photographic stills. The new copyright act similarly excludes the production still from automatic copyright but gives the film's copyright owner a five-year period in which to copyright the stills. Most studios have never bothered to copyright these stills because they were happy to see them pass into the public domain, to be used by as many people in as many publications as possible.\"</li>
<li>Kristin Thompson, committee chairperson of the Society for <a rel=\"nofollow\" class=\"external text\" href=\"//cmstudies.org\">Cinema and Media Studies</a> writes in the conclusion of a 1993 conference of cinema scholars and editors<a rel=\"nofollow\" class=\"external autonumber\" href=\"//web.archive.org/web/20131004004521/http://chnm.gmu.edu/digitalhistory/links/cached/chapter7/link7.59b.fairusageandfilmstills.html\">[1]</a>, that:<br>\"[The conference] expressed the opinion that it is not necessary for authors to request permission to reproduce frame enlargements... [and] some trade presses that publish educational and scholarly film books also take the position that permission is not necessary for reproducing frame enlargements and publicity photographs.\"</li></ul>")
