had moderate success on other formats, reaching number 22 on the Hot Dance Singles Sales chart, number 27 on the Rhythmic Top 40, and number 37 on the Mainstream Top 40. It received a gold certification by the Recording Industry Association of America (RIAA) for selling 500,000 copies on 13 January 1998. New remixes by American house musician Ralphi Rosario released during the group's 2007–08 The Return of the Spice Girls Tour, reached number 17 on the Hot Dance Club Play chart in July 2008. Music video The music video for "Spice Up Your Life" was directed on 6 September 1997 by Marcus Nispel in a two-day shoot located in New York City. It was edited at Red Car Inc in Los Angeles, and included visual effects by Craig Price. The video features the group in a futuristic setting, inspired by the 1982 film Blade Runner, controlling every aspect of society in a dark post apocalyptic cityscape. Nispel came up with the concept based on a sketch that was faxed to him signed "Ginger Spice". He recalls: "I looked at what Disney did to Times Square in NYC and tried to imagine how the Spice Girls would transform it, as their career seemed to have no limits—at the time." The group was not consulted about the concept. According to Brown's autobiography, they wanted a carnival party theme, but were too tired to fight about it with the label, and ended up with a concept linked to the theme of world domination. Brown commented: "It wasn't right. I don't think any of us liked it much, even though we enjoyed making it. I still can't understand what's going on in it half the time." The music video and a half-hour special with behind-the-scenes footage from the shoot, exclusively premiered on MTV in September 1997. The video shows the Spice Girls in a spaceship going through a dark rainy city, looking at themselves on various billboards, while shoots of rooms, bars and a prison with televisions plays the videos for "Say You'll Be There" and "Wannabe", and also broadcast live footage of the group inside the spaceship. The girls then zoom aimlessly around the city, between buildings, on flying surfboards. The scenes are interspersed with shoots of each group member in different activities, such as Brown doing turntablism with bright flashing lights and a large rotating fan, Beckham posing on top of